Continuing his directorial trajectory where every other film is one that doesn’t quite land with the masses, Trap, despite an intriguing set up and some delicious work from a committed Josh Hartnett, isn’t the top-tier M. Night Shyamalan that some might be expecting.
Whilst he has certain films throughout his career that are either universally acclaimed (The Sixth Sense) or reviled (The Last Airbender), the majority of his work tends to prove quite interchangeable according to whichever unique viewer. I personally enjoyed his last effort, Knock at the Cabin, and actively rejected the one prior to that, Old, but I have spoken to others (and, of course, seen the keyboard warriors on X’s thoughts) that have entirely opposing views.
Trap could very well prove a winning excursion for certain viewers. Personally, it far overstayed its welcome (and that’s at only 105 minutes) and failed to utilise the potential of its fascinating premise as serial killer Cooper (Hartnett, clearly enjoying himself), who the media have dubbed “The Butcher”, realises that the pop concert he is attending with his fan-girl daughter (Ariel Donoghue‘s Riley) is actually a trap to catch him, following a tip-off he would be in attendance.
Just how the feds came to know Cooper would be there is one of the little reveals Shyamalan’s script delights in, as we slowly see him come undone when he realises the extent of the police presence in the stadium; Shyamalan’s own daughter, Saleka Shyamalan, contributing over a dozen songs to the soundtrack as Trap‘s in-film popstar, Lady Raven. Watching Hartnett flip between goofy, embarrassing father figure and concerned serial killer is a real treat, and he certainly does his best to evade the authorities by leaning into his caring dad routine, but the film ultimately starts to have an air of cycle, rinse, repeat to it as we follow Cooper throughout the stadium, all the while his daughter watching on, her concern increasing.
Shyamalan himself has described the film as “The Silence of the Lambs at a Taylor Swift concert”, and whilst I can see that mash-up in Trap in theory, the reality is we never get enough of Hartnett’s supposed menace and perhaps a bit too much of the Lady Raven concert footage; though this isn’t a slight on Saleka’s behalf, as she proves a capable performer with the largely R&B-inspired soundtrack an easy listen. And even when the narrative moves away from the studio compounds, the promise of Cooper’s true identity being uncovered by the unlikeliest person again fails to truly earn satisfactory execution.
A bit more of a straight-forward telling from the usual twist-heavy creator, Trap hits notes both on pitch and off-key in equal measure. A tighter pace and a clearer vision could have truly elevated this Hitchcockian-like thriller, but, ultimately, it’s one set up that doesn’t quite snare the intended interest. It’s always a treat to see Hartnett on screen though, but his unnerving wickedness deserves a tale more committed to the darkness he so clearly enjoys channelling.
TWO AND A HALF STARS (OUT OF FIVE)
Trap is now screening in Australian theatres.
