In what continues to be one of the most seesaw careers in film history, I must admit that M. Night Shyamalan is a funny guy. Maybe not the traditional funny, but imagine a guy that’s pegged as the next Spielberg (even though the comparison doesn’t even make sense given their different filmmaking styles, but that’s another discussion) and then almost tanks his entire career going on an epic run of critically panned flops. From the vapid/whiny Lady in the Water (2006), that’s rife with absurdist self-importance, to a comical attempted metaphor of the environmental crisis, and then culminating in Nostalgia-Assassination for a beloved Nickelodeon show. This was M. Night’s nadir. But my man bounced back. Because for all his follies and peccadillos, he at least has always been a fascinating filmmaker with a signature voice, a one of one, for both good and bad reasons. In fact, as Hollywood has become increasingly reliant on formulaic blockbusters that stifle the creativity of its filmmakers, such a landscape has almost retroactively elevated M. Night as one of the few famous auteurs that can sell a movie on his name. Now that he’s in his Renaissance era, he’s using his clout to not just establish his legacy but put his children on as stars of tomorrow. And when we say put on, we mean he’s throwing the kitchen sink at us. Funny guy.
Which brings us to Trap, which we can safely say is a different type of experience than most of Shyamalan’s other fare. In fact, it’s probably one of his most human films. For starters, the dialogue resembles that of real-life human beings, as opposed to the stuffy speech usually associated with M. Night’s filmography. The film stars Josh Hartnett, in the running for career comeback of the year and father of the year. He plays Cooper, a fun loving, goofy ball of energy with a loving wife, and his cheerful daughter Riley (Ariel Donaghue). Riley is in love with pop star Lady Raven (Saleka Night Shyamalan), which is why Cooper is accompanying his daughter to the star’s concert. Early on, we’re quickly inundated with the child’s love affair with the singer, as she… um, poorly belts out one of Lady Raven’s hits while in the car with her dad. Don’t worry, there’s better singing later.
But as anticipation for the concert swells, Cooper begins to notice a rather abundant police presence at the venue. Using that damn charismatic personality, Cooper is able to ascertain that a sting operation is in effect, with the concert acting as an elaborate Admiral Ackbar, as the FBI suspects that a notorious serial killer known as “The Butcher” will be in attendance at the concert. As the previews have already shown, Cooper is The Butcher, and he’s hidden a secret life of crime from his family, behind a veneer of smiles and warm generosity.
Hartnett is magnetic here, yet we can’t gloss over just how creepy a character like this comes off. He uses his infectious personality and privilege to occupy any space he pleases, and it’s so unsettling to see a murderous psychopath just gallivanting around with his teen daughter. The film not only effectively executes this dynamic but capitalizes on the suspense of the premise. While thousands of people are amped for a musical performance, Cooper is looking around his shoulder, at every corner, and at everyone. What should be, for normal people, just fun events and interactions, every situation of both mild and greater consequence puts Cooper on edge, and thus the audience on edge.
A big reason why this works is that M. Night actually genuinely cares about taking you on a journey through a concert in ways that feel very authentic. In fact, there’s parts of this movie that feel like you’re just following the perspective of someone in a documentary about a concert. The waiting to get into the arena, the attempts to get an early glimpse at the star, the merch/concession lines, the performances and announcements, they all put you in this setting and inspire you to recall your own experiences at concerts.
Now, I believe this has been a point of contention and possibly explains why Trap has been so polarizing. Its subject is a psychotic killer, who we even learn has a captive in his home. But Trap isn’t really interested in wallowing in the depths of violence. If you’re looking for a bloody, grisly affair with several brutal kills, then Trap might not work for you. No, its aim is more psychological and sentimental. What the film is more interested in is the sociopathic nature of its lead and how he moves through society. So you won’t see anything resembling the grotesque brutality of, say Hostel (2005), as the movie takes more inspiration from the likes of Alfred Hitchcock. Trap shares more than a few strands of DNA with the likes of Shadow of a Doubt (1943) and Rope (1948), movies that showcase individuals occupying the venn diagram of psychotic and sociopathic tendacies, yet there’s so much on the line for them as to not let these tendacies slip out and become public knowledge.
This extends to the connection these characters have to their innocent loved ones and acquaintances. Donaghue gives one of the movie’s best performances and displays a lot of potential as an upcoming actor. You could even convince me that she legitimately didn’t know she’s in a horror thriller for large chunks of the film, that’s how authentic the performance comes off. Saleka has one of the more difficult parts, balancing being a live singer with a character that has material relevance to the events of the plot. But she wins you over. You get the sense that the movie isn’t just a showcase for Saleka and her talents, but that M. Night is likely drawing on his own experiences as a dad with his kids at a concert. Combining personal experiences with his love for genre fare.
That genre label fits to a T, warts and all. Jonathan Langdon pops out as a staffer that knows quite a bit about the situation surrounding the venue. I found this actor entertaining and the character enjoyable, even as he’s committing some of the dumbest decisions I’ve ever seen on film. That’s a microcosm of the movie as a whole, for every smart or intuitive decision a character makes, there’s several other unwise faux pas throughout the movie. There’s also a couple of major questionable creative choices near the end of the film, as well as a pretty skippable Kid Cudi cameo – although I can’t say it isn’t hilariously reminiscent of some concert experiences. Nonetheless, Trap is a fun time. It’s messy as all hell, but a graceful mess I didn’t want to look away from.
