M. Night Shyamalan’s latest feature, Trap, is an intriguing blend of concert film and thriller, driven by a standout performance from Josh Hartnett. Shyamalan, known for his knack for suspense and twists, ventures into new territory with this film, asking a provocative question: “What if The Silence of the Lambs happened at a Taylor Swift concert?”
The Bottom Line: Rarely scary, sometimes suspenseful, always silly.
Release Date: Friday, Aug. 2
Cast: Josh Hartnett, Hayley Mills, Alison Pill, Saleka Shyamalan, Kid Cudi, Ariel Donoghue
Director-Screenwriter: M. Night Shyamalan
Rated: PG-13, 1 hour 45 minutes
Trap opens with Cooper (Hartnett), a dad-joke aficionado, and his daughter Riley (Ariel Donoghue) attending a concert by pop sensation Lady Raven (Saleka Shyamalan). The stadium is buzzing with hyperactive adolescents, some eagerly waiting outside for a glimpse of the star, while others practice Lady Raven’s viral dance routines in the lobby.
Riley, who has been navigating social struggles at school, is particularly excited. She drags her father through the parking lot, joins a group of girls near the concessions, and marvels at the merchandise. This would be a typical concert scene if not for the heavy police presence patrolling the arena.
Cooper soon learns from an entertaining merchandise vendor, Jamie (Jonathan Langdon, in a scene-stealing role), that Lady Raven’s show is a sting operation. Federal agents and local authorities aim to catch The Butcher, a serial killer whose victim count has recently hit double digits. As Jamie reveals the enterprise’s details, including special code words for identifying The Butcher, Cooper becomes increasingly uneasy.
For those wary of spoilers, it’s best to stop here. But if you’ve seen the trailer, you know Cooper is the wanted man, marking the film’s first twist. Shyamalan’s Trap offers more surprises than his recent works like Knock at the Cabin, though they are more eyebrow-raising than breath-stealing.
As Cooper gathers intel, Trap morphs into a suspenseful cat-and-mouse game. The first half of the film is precise and engaging. Working with master cinematographer Sayombhu Mukdeeprom, Shyamalan creatively uses off-kilter shots and negative space, turning the arena into a booby-trapped maze. He grounds us in Cooper’s perspective, urging us to map our escape routes.
Hartnett shines in his role, bringing a wily, often humorous, and subtly shifty performance. Introduced as an anxious father, his meticulous attention to detail, controlled jaw muscles, and tense smile gradually reveal a more malevolent side. As Cooper sneaks into private areas, chats with arena staff, and schemes his getaway, Hartnett convincingly balances the character’s dual identity: a suburban dad and an infamous murderer.
Shyamalan, a father himself, likely relates to Cooper’s paternal instincts. The first half of Trap betrays the director’s greater interest. His daughter Saleka wrote, produced, and recorded an entire album for the film, adding a haunting layer to composer Herdis Stefansdottir’s score. Many of Saleka’s songs are featured in full, and much of the film’s beginning is dedicated to her onstage performances, exploring star power in the social media age. The glow of phones, viral choreography, and committed fans are all examined.
Despite its promising setup, Trap struggles to maintain momentum. The repetitive nature of Cooper’s chase diminishes the stakes, and a subplot involving Lady Raven fails to resonate as significantly as intended. By the third act, despite stylish direction, the film loses some of its edge.
Trap is a moderately entertaining thriller, buoyed by Josh Hartnett’s compelling performance and Shyamalan’s creative direction. It may not be the director’s most thrilling work, but it offers an inventive, albeit flawed, cinematic experience.
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