Remember that whole sequence in Psycho where Norman Bates comes across the murder scene after he commits it – even if first time watchers don’t know – and he starts to dispose of the body and the car? He puts everything into the car, drives it out to a swamp where he pushes it in, and watches as it slowly sinks. And then it stops for a moment. You see a slight panic wash over his face. And you start to feel weirdly tense as well. Even though you know this guy is being sketchy, you find yourself hoping he is able to make the car go under and out of sight. Trap is basically an entire movie of that feeling.
The setup, beautifully explained in thorough detail by a stadium vendor Jamie (Jonathan Langdon), there is a serial killer known as The Butcher wreaking havoc across the city of Philadelphia. And thanks to a tip that gave the authorities a single clue, they were able to determine that he will be attending a concert held by massive pop singer named Lady Raven (Saleka Shyamalan). So, the concert is being used as a trap, surrounded on all sides by cops, agents, and SWAT teams. They have an FBI profiler Josephine Grant (Hayley Mills), who has essentially mapped out the killer’s moves if and when he realizes what’s going on, and are hoping he slips up enough to get himself caught.
Jamie explains this to Cooper (Josh Hartnett), a dorky dad who is taking his teenage daughter Riley (Ariel Donoghue) to the concert, as she is a huge fan of Lady Raven. Unfortunately for Jamie, he unwittingly gave all this information to The Butcher himself, which we find out fairly early on as he looks at a camera feed on his phone to check in on his next victim, currently trapped in a basement somewhere in the city. So, now knowing he is at risk, he has to maneuver the authorities very carefully, having to make sure he stays at least a couple steps ahead of them as they continuously use various methods to keep him confined in the stadium during the concert.
This is the new film from M. Night Shyamalan, and it’s simultaneously unlike anything he’s done before while also being very unmistakably Shyamalan on every conceivable level. A pure, high concept B-movie exercise where we watch a man who we see is capable of calculated and meticulous planning be thrown into a situation where he is constantly pushed into a corner, and forced to think on his feet. It’s a near non-stop thrill ride. And yes, it does have a lot of Shyamalan’s usual idiosyncrasies, especially with dialogue, such as the aforementioned exposition dump by Jamie, but it’s clear that Shyamalan understands his quirks thoroughly, and he knows how to have fun with it. This was such a fun time, probably his most effortlessly enjoyable movie in a very long time.
However, he isn’t skimping on the craft here. The cinematography from Sayombhu Mukdeeprom makes great use of the space, using the halls, colors, and crowds to craft these enthralling 35mm film images, with a particular emphasis on close-ups on faces. The editing from Noemi Katharina Preiswerk is tight and impactful, but allowing room to breathe for the sequences that need it. And the score from Herdís Stefánsdóttir keeps a propulsive undercurrent that puts you on edge. Everything from the design of the stage, the staging of Cooper’s various plans, to the way the tension increases and stakes escalates, it’s all just expertly done, but also done with plenty of playfulness as well.
Hartnett is a force to be reckoned with here. It’s easily my favorite performance from him, you can feel him relishing each line, and really making a meal out of the way Cooper has to transition from the corny dad to the killer who is also apparently haunted by thoughts of his mother. I also love the little twitches he does under his eyes when he examines the setting to see what his options are. He keeps it just grounded enough while still indulging in some of the silly flourishes that Shyamalan throws into the mix. And he has a great dynamic with Donoghue, creating a believable father-daughter bond that sells some of the more complex emotional dynamics that the film touches on.
I had such a blast with Trap, it’s easily one of the most fun movies I’ve seen this year. Every sequence had me giddy and thrilled and excited to see where it went. Obviously, if some of Shyamalan’s tendencies aren’t up your alley, this might not do a whole lot to curb your expectations, though I do think this is more accessible than something like Old or Knock At The Cabin, given it’s super straightforward premise. Plus, any commentary and theming involving the power of technology, or other Shyamalan classics like the manifestations of trauma and the inner workings of a family unit and how strong they can be are kept relatively subtle and not dwelt upon. It’s also a fascinating look at fatherhood, which is interesting given Shyamalan produced The Watchers, a film by his daughter Ishana Night Shyamalan, and prominently features his other daughter Saleka here, who is an actual singer. I think within that context, there is something deeper to be explored here, but I don’t know if I’m ready to tackle that just based on a first viewing. I’ll just say, we love to see a supportive dad. But this is a film I definitely wouldn’t mind seeing again, it’s thrilling, it’s funny, it’s tense, it has a clear voice, it’s classic Shyamalan through and through.
Trap is now playing in theaters.
I am now on Patreon! If you enjoy my work, please consider joining!