Trap (2024) Review!!

Synopsis – A father and teen daughter attend a pop concert, where they realize they’re at the center of a dark and sinister event.

My Take – It is a matter of fact that ever since he broke out worldwide with The Sixth Sense back in 1999 and doubled down with Unbreakable (2000) and Signs (2002), producer, writer and director M. Night Shyamalan has been known to be gloriously inconsistent with his features.

Works which continue to get the most extreme far sides of reactions for his bizarre yet ambitious style. Simply told, audiences either love or hate his films.

Still reeling off a career resurgence which saw back to back hits in the form of The Visit (2015) and Split (2016), his latest apparently originated from conversations between him and his eldest daughter Saleka (who co-stars in the feature) about the combination of concert experiences with film experiences, citing Purple Rain (1984) as an inspiration, eventually landing on a premise described as “Silence of the Lambs at a Taylor Swift concert”.

A high concept mash-up that is solidly entertaining, silly and unnerving as it is taut and divisive.

Yes, the screenplay incorporates some illogical situations and methods, but anchored by a great Josh Hartnett performance, whose energy is so manically enthusiastic throughout, especially in his casual interactions with strangers and acquaintances, that you are immediately drawn in and remain ever curious about his next move.

Most importantly, it is a delightful departure from the filmmaker’s usual overly serious fare, offering a fun-filled ride that doesn’t demand to be taken seriously and requires the suspension of every bit of disbelief. All while reminding that as a filmmaker Shyamalan still has the pull, leaving us anticipated for his next release.

The story follows Cooper Adams (Josh Hartnett), an employee of the fire department, who as a reward for achieving high marks in school takes his teenage daughter Riley (Ariel Donoghue) to a concert for her favorite pop idol Lady Raven (Saleka Shyamalan).

During the show, Cooper notices the large presence of police officers at the venue, and sneaks out to deduce what is happening. Soon learning that the police have been tipped off that a local serial killer “The Butcher” is currently in attendance at this concert, causing all conventional methods of leaving the stadium to be put into place to prevent his escape.

Being the unidentified serial killer himself, realizing that he could now be finally caught, Cooper begins to plot his getaway without raising the suspicions of his daughter, the police, and all of the other 30,000 concert attendees.

In true Shyamalan fashion, the story hooks you in pretty much straight away with its intriguing set-up and concept. From the very beginning, the film throws suspension of disbelief out the window, replacing it with pure thrills and increasingly ridiculous situations. The film is a showcase of dad jokes and black comedy, with writer-director Shyamalan relishing in the absurdity and not afraid to look a bit silly.

The film presents myriad opportunities for tactical sequences, however, these moments rely on the kind of film magic that turns down the dials of common sense. Law enforcement, citizen attendees, crew members, and just about everyone else except for Cooper is kind of dim in a way that suggests, more overtly than in most Shyamalan films, that these people aren’t going to do a great job of taking down the villain, for whom we innately wish, by proximity and duration, to evade capture. Although some plot elements seem a bit too convenient at times, they don’t hinder the overall flow of the story where it matters.

There are several instances where it seems like Cooper could be caught at any time thanks to one minor slip up but he will somehow find a way to cover his tracks and outsmart anyone suspicious of his actions. The film is also excels both visually and atmospherically.

A concert arena filled with screaming teenage girls is probably one of the last places you would expect for a setting to a serial killer film, but director Shyamalan actually does a solid job making it work within this unusual location.

In one scene, Cooper wanders around the venue in search of an escape route, sizing up any openings he could fit into and any security personnel he will need to avoid. As the camera follows his creepy gaze, we see Cooper grow increasingly confident of his current position, believing he will soon find the perfect way to leave the venue undetected.

Despite technically being the villain, Cooper is a character you can’t help but root for. Watching him outsmart the police and navigate each situation with mischievous glee is incredibly entertaining. Cooper’s character is given some depth with a backstory of childhood trauma, though it often feels forced and somewhat heavy-handed. Nevertheless, Hartnett‘s portrayal is so compelling that you’d want to see an entire series dedicated to his antics and clever escapes.

However, the climax falls a little short of the tension and fun established earlier in the film. The twist is unexpected and poorly set up, with a rushed exposition dump that could have been handled more effectively with a flashback.

Nevertheless, it all comes down to Josh Hartnett‘s absolutely ludicrous performance and commitment to embracing the absurdity. In what should be regarded as a major comeback for him, Hartnett is very good in the lead role of Cooper as he presents a very likable and charming image of this loving and devoted father while also effortlessly turning into a sneaky and manipulative opportunist when the situation calls for it.

Saleka Shyamalan, who also wrote 14 songs for the film, is believable as Gen Z influencer, reminiscent of a Taylor Swift-esque cult personality. Alison Pill, Ariel Donoghue, Marnie McPhail, Vanessa Smythe and Hayley Mills provide good support. On the whole, ‘Trap’ is a solidly entertaining popcorn thriller that is both silly and unnerving.