M. Night Shyamalan’s “Trap”: A Descent into Uninspired Horror, or a Masterclass in Misdirection?

Trapped in a Predicament: M. Night Shyamalan’s "Trap" Stumbles in a Sea of Missed Opportunities

M. Night Shyamalan, the auteur known for his twisty thrillers and penchant for the unexpected, is back with "Trap," a film that, on paper, seems like a perfect fit for his penchant for mind-bending scenarios. The premise, rooted in the modern phenomenon of superstars turning their concerts into cinematic events, promised a provocative commentary on the societal obsession with celebrities and a fresh take on the classic cat-and-mouse thriller. However, "Trap" stumbles, ultimately feeling like a convoluted misfire that leaves the audience disappointed and yearning for a more engaging payoff.

The film kicks off with a seemingly ordinary father-daughter duo, Cooper Adams (Josh Hartnett) and his daughter Riley (Ariel Donoghue), heading downtown to see Lady Raven (Saleka Shyamalan), a rising pop star, perform in concert. While Riley is completely enthralled, Cooper, despite his outward display of enthusiasm, harbors a dark secret: he is a serial killer currently holding his next victim captive in a hidden dungeon.

The film’s first act establishes a clever juxtaposition between moments of mundane family life and the chilling reality of Cooper’s gruesome actions. "Trap" draws inspiration from successful serial killer dramas like "You" and "Dexter," expertly highlighting the contrast between the ordinary and the horrific. One scene finds Cooper intently watching a livestream of his next target, his menacing gaze and nervous twitches starkly contrasting the heartwarming moment of playing with his daughter.

However, Shyamalan’s signature twist arrives early, revealing that the seemingly innocuous concert is an elaborate scheme orchestrated by the police to lure Cooper out. The film borrows heavily from a real-life event, Operation Flagship, a 1985 sting operation where US Marshals used free football tickets to apprehend wanted criminals. Shyamalan cleverly flips this historical event, imagining how a massive concert, teeming with screaming teenage fans, could be leveraged against a dangerous predator like Cooper.

The central concept of "Trap" is undeniably intriguing, playing with the intriguing notion of using widespread entertainment events for law enforcement purposes. However, the film quickly becomes hampered by its core conceit, leading to a perplexing narrative that pushes credulity even for a Shyamalan film.

One of the film’s biggest missteps lies in the unrealistic portrayal of Cooper’s ability to escape detection. He utilizes numerous "trips to the merch table" as opportunities to gather information about the police’s strategies, yet it seems impossible for him to be unaware of the intense security measures surrounding the concert. The film depicts a situation where police are actively pulling people from the crowd and conducting interviews while Cooper effortlessly slips by without suspicion.

The film’s plot hinges on Cooper taking increasingly absurd chances to evade capture, sacrificing any sense of tension or realism in the process. The audience is expected to accept the protagonist’s near-superhuman ability to outmaneuver the authorities despite obvious obstacles, leading to a sense of detachment from the story’s stakes.

Adding to the film’s sense of absurdity is the lack of emotional resonance from Hartnett’s portrayal of Cooper. His performance lacks charisma, making it difficult to understand how a seemingly bland and awkward individual could so easily fool those around him. While the film attempts to portray Cooper’s strange behavior as a manifestation of his underlying sociopathy, the execution feels forced and lacks the chilling conviction required to make it truly convincing.

"Trap" could have functioned as a straightforward thriller focusing on the predator becoming the hunted, but its insistence on outlandish escapades and improbable plot developments ultimately undermines its narrative and leaves the audience feeling robbed of a satisfyingly tense experience.

The film’s overall feel, from its story to its unexpected inclusion of Shyamalan’s daughter, Saleka Shyamalan, as a rising pop star, feels like a project born out of Shyamalan’s personal interests and his tendency to self-finance his films since 2015. His cameo as Lady Raven’s uncle feels disruptive and self-indulgent, further highlighting the film’s tendency towards an overly self-aware and overly-stylized approach to storytelling.

"Trap" possesses an intriguing premise and a refreshingly novel take on the classic thriller formula. However, its reliance on improbable plot twists, unrealistic character behavior, and a lack of genuine tension ultimately overshadows its promising thematic foundation. Though it demonstrates Shyamalan’s ability to conjure compelling ideas, "Trap" proves that clever concepts alone are not enough to create a truly engaging and satisfying cinematic experience. In the end, the film feels like a trap that Shyamalan himself has fallen into, resulting in a disappointing and forgettable addition to his filmography. In his pursuit of the unconventional, he has stumbled upon a film that is more baffling than captivating, leaving the audience wondering if Shyamalan has lost his touch.

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