30,000 fans. 300 cops. 1 serial killer. No escape.
30,000 fans. 300 cops. 1 serial killer. No escape.
M. Night Shyamalan’s latest thriller, Trap, has a decent first act but fails to find its footing due to its meandering narrative. Despite Josh Hartnett’s solid performance, the film is hindered by implausible plot twists, cringe-worthy dialogue, and a lack of scares right through to its underwhelming third act. While the concept shows promise, the execution falls flat, with mediocre characters and a far-fetched climax.
When Cooper (Josh Hartnett) takes his daughter Riley (Ariel Donoghue) to a concert by pop idol Lady Raven (Saleka Shyamalan), he’s thrown off by the hefty police presence. As the night goes on, Cooper comes to the shocking revelation that the concert is a deliberate trap set by the authorities to catch the notorious serial killer known as “The Butcher” who is, in fact, Cooper himself. With the cops closing in on him from all sides, Cooper must navigate an escape plan without tipping off Riley’s suspicion or alerting the feds.
The film’s concept, a concert event turned trap for a serial killer, is interesting but quickly descends into unrealistic situations and illogical decision-making. As the plot unfolds, glaring holes emerge, making it impossible to suspend disbelief. While the marketing promised a suspenseful thriller, we’re dealt a story that makes little sense and squanders Hartnett’s talent. A particularly absurd moment occurs when a performer emerges from the ground floor of the venue, and Cooper casually suggests to his daughter that they go down to check it out, as if it’s a perfectly normal and safe place to explore (like that wouldn’t set off any red flags). This is just one of many cringe-worthy moments that Shyamalan insults the audience with. Trap ends up feeling like a nepotism project to launch the career of Saleka Shyamalan whose character strangely takes center stage during the film’s third act.
Trap’s dialogue, particularly between the father and daughter, feels inauthentic which is a letdown considering the two actors share decent chemistry. Hartnett’s performance is the main draw, as he carries his scenes with intensity and showcases his impressive versatility. He shines in the lead role of Cooper, bringing a likable and charming presence to the devoted father, while also effortlessly switching to a manipulative killer when needed. He masterfully conveys emotions, even with subtle facial expressions. Hartnett’s comeback in this film deserves the hype and will hopefully result in seeing him in more horror projects. Ariel Donoghue shows potential, but her character’s absence from the midpoint prevents her from navigating the more critical and suspenseful scenes. Furthermore, the late introduction of Cooper’s wife Rachel (Alison Pill) diminishes the impact of her pivotal revelation, making the film’s twist feel contrived. Thankfully Saleka Shyamalan’s songs are catchy given the concert scenes dominate much of the film; however, the emphasis on music over frights leaves a desire for a more balanced approach. A pleasant surprise is Hayley Mills’ appearance in a smaller role, nodding to her classic film The Parent Trap.
Even with its intriguing concept and Josh Hartnett’s stellar showing, Trap loses momentum due to narrative gaps and impractical aspects. The film lacks charm, tension and atmosphere, essentials needed to stand out in the horror genre. While Hartnett’s performance helps overcome some glaring issues, this serial killer thriller fails to deliver witty twists. Needless to say, this one doesn’t get a standing ovation.
