The Wasteland Reviewer

Trap (2024) Written Review

What do you think of the curious career of M. Night Shyamalan? He was top of the world with the releases of The Sixth Sense, Unbreakable, and Signs. People were calling him the next Hitchcock. He admittedly created some of the most impressive films of the turn of the century. The genre elements mixed with depth of human emotion just captured the imagination of people. His career quickly spiraled all the way to the point where the studio avoided putting his name in the marketing for After Earth. But now he has resurged thanks to The Visit, Split, and Knock at the Cabin. Shyamalan has a brand-new thriller hitting theaters…or should I say the concert scene? Time for a pop concert with a serial killer (and Shyamalan’s own pop star daughter).

Does Shyamalan deliver with his latest flick, Trap? This might be one of, if not, the most humorous films that he has done up to this point. Shyamalan is not a campy director, but he does find ways to imbue humor into his film. But Trap goes full blown silly and over-the-top, which was unexpected. This tone works well in making this experience thoroughly entertaining for sure. Some of the acting choices are exaggerated and come off more “fun” than “thrilling” which makes it hard to build up some tension in certain moments. But one thing that Shyamalan delivers on is his filmmaking techniques. There are plenty of moments featuring dynamic cameras that make the experience engrossing and more impactful. The framing of cinematographer Sayombhu Mukdeeprom is pitch perfect and makes for some memorable shots throughout.

Does the story hold up as well? This might be one of the more straightforward of Shyamalan’s thrillers. There is not some crazy plot twist set up in this one but instead we are stuck in the perspective of a serial killer (portrayed by Josh Hartnett) as he tries to get out of this pop concert while still out of police custody. The first two-thirds of the film works so well in setting up tension with well-staged scenarios with slick and creative solutions. But it is the third act that goes a “bridge too far”. The film shifts towards the pop singer (Saleka Shyamalan) unexpectedly and in quite the clunky way. Then the film keeps reaching for a climax repeatedly with most of the logic the film did have getting sacrificed to keep this crazy ride going. The screenplay really unwinds in the last third and it makes it hard to stick with it. You really must suspend your disbelief to meet the film where it is by the time the credits start rolling.

Do the actors come to play in the offbeat Shyamalan way? Hartnett has had an up and down career, but he finds himself in a bit of a resurgence. Trap gives him the opportunity to deliver a big and wild performance. He makes plenty of offbeat and strange choices that match the silly tone of the film. Between his physicality and his alien reactions, he crafts an intimidating serial killer. Saleka comes off a bit flat when she becomes the focus, but her talents really lie in the great musical performances going on for most of the run time. The soundtrack to this one is full of bangers. Hayley Mills has had a long and successful career, and she spouts exposition like it is nobody’s business in Trap. She feels a bit wasted but she does her best to stand out. Ariel Donoghue is believed as the teenage daughter who lives that Gen Z life. All the performances (as in many of Shyamalan films) never really feel authentically human but this seems to fit that well.      

Is Trap another win from the modern master of tension and suspense? There are some strong elements including the concert section of the film and the lead performance of Hartnett (who is having the time of his life). This is a fun time with strange and offbeat choices that makes this a more fun than thrilling experience. The script cannot quite hold it together by the time the credits roll on this one but this was a good effort from all around to capitalize on this great concept.