Night Shyamalan’s “Trap” bursts onto digital platforms, offering a wild ride that blends pop music spectacle with serial killer suspense. As a die-hard Shyamalan fan, I approached this film with sky-high expectations, eager to see how my favorite director would tackle this unique premise. While it doesn’t quite reach the dizzying heights of his best work, “Trap” still manages to deliver a tension-filled experience that keeps you guessing until the very end.
Josh Hartnett makes a triumphant return to the spotlight as Cooper, a seemingly ordinary father harboring a deadly secret. His ability to switch between doting dad and calculating killer is nothing short of mesmerizing. Hartnett’s nuanced performance, particularly his expressive face as he silently reacts to the unfolding chaos, elevates every scene he’s in.
The real revelation of “Trap” is Ariel Donoghue as Cooper’s daughter, Riley. This young actress brings a crispy freshness to her role that injects energy into the entire film. Her chemistry with Hartnett feels genuine and lived-in, making their father-daughter dynamic the emotional anchor of the story.
Shyamalan’s decision to set the film during a massive concert provides a unique backdrop for his trademark tension-building. However, the execution of these scenes is marred by numerous inconsistencies that may distract eagle-eyed viewers. The lack of attention to detail in crowd behavior, concert logistics, and venue layout pulls the audience out of the film’s universe. For instance, an unusually high number of concertgoers are seen roaming the halls instead of watching the performance, there are inexplicable delays between songs, and the seating arrangement defies logic with section 400 inexplicably placed at the bottom of the arena instead of the top. Perhaps most baffling is the presence of a trap door beneath the ice surface, a detail that strains credibility. These missteps are particularly glaring for those familiar with live music events and significantly diminish the immersive experience Shyamalan aims to create.
Saleka Shyamalan takes on the role of Lady Raven, the pop star at the center of the story. While her musical performances are solid, her acting chops aren’t quite on par with her co-stars. That said, her presence adds a contemporary flair that helps ground the film in the present day.
The screenplay, penned by Shyamalan himself, presents an intriguing premise but occasionally struggles with pacing. Extended musical sequences sometimes interrupt the cat-and-mouse game between Cooper and the authorities. This imbalance can diminish the overall suspense of the narrative.
Cinematographer Sayombhu Mukdeeprom captures the frenetic energy of a concert environment with skill. However, the film misses opportunities to create a truly immersive experience that rivals recent concert-centric movies like “Marry Me.” The visual style, while competent, lacks the polish and spectacle one might expect from a high-stakes thriller set in a massive arena.
“Trap” attempts to explore themes of duality, family bonds, and the nature of evil. While these ideas are present, they often feel overshadowed by the film’s focus on its high-concept premise. The result is a movie that scratches the surface of potentially rich thematic material without fully delving into its implications.
The supporting cast, including Hayley Mills as a veteran profiler, adds depth to the ensemble but is ultimately underutilized. Mills, in particular, brings gravitas to her role, but her character feels more like a plot device than a fully realized individual. This is a missed opportunity to add more layers to the cat-and-mouse game at the heart of the film.
Despite its shortcomings, “Trap” is not without merit. The film’s core concept is undeniably intriguing, and there are moments of genuine tension and surprise throughout. Fans of Shyamalan’s work will find familiar elements to appreciate, even if the overall package fails to reach the heights of his best films.
For longtime Shyamalan enthusiasts, “Trap” offers a thrilling new entry in his filmography. It may not reach the iconic status of “The Sixth Sense” or “Unbreakable,” but it proves that Shyamalan still has plenty of tricks up his sleeve. This B-movie premise is elevated by strong performances and confident direction, resulting in a tense, if imperfect, addition to the Shyamalan canon.
In the end, “Trap” is a middling entry in Shyamalan’s filmography that showcases both his strengths and weaknesses as a filmmaker. While it may disappoint those hoping for a return to his early-career form, it still offers enough suspense and intrigue to warrant a watch.
The film is now available on most digital channels.
