As a seasoned film critic who has watched countless movies, I must admit that “Trap” was a rollercoaster ride that left me feeling somewhat disoriented and slightly disappointed. The premise of the movie is intriguing, but the execution seemed to veer off course quite quickly.
For a quarter century, I’ve been known as M. Night Shyamalan, a name synonymous with cinema since the release of “The Sixth Sense” in 1999. My body of work can essentially be split into four distinct phases. Initially, I was hailed as an A-list visionary, often compared to Spielberg, with my masterpiece “Unbreakable,” along with “Signs” and “The Village,” being part of this esteemed period.
During a certain phase, he abandoned everything and transformed into an anonymous master of science fiction (“The Last Airbender,” “After Earth”). His resurgence began with the release of “Split” in 2016, a successful film showcasing James McAvoy as a talkative psychotic character with numerous personalities. Since then, the Shyamalan brand has experienced a revival, albeit a parody of its past brilliance. Audience members returned to his movies, yet his elite image was replaced by an unapologetic, anything-can-happen approach reminiscent of B-movies.
Entering a fresh M. Night Shyamalan film, you might expect it to follow his typical pattern, yet secretly wish he’d return to the Shyamalan of our initial admiration – the masterful illusionist of suspenseful thrillers. However, “Trap,” his latest work, could potentially signal a new chapter in Shyamalan’s career. Let’s label this phase as the ‘overtly-contrived-even-beyond-Brian-De-Palma’s-most-imaginative-twists’ era.
For approximately half of the movie, we experience a film reminiscent of De Palma’s “Snake Eyes,” specifically a suspenseful, real-time production taking place within a bustling entertainment venue. This venue serves as both the main attraction and an intricate setting for the unfolding drama. The event in this instance is a performance by pop sensation Lady Raven, portrayed by Saleka Shyamalan, who embodies a fusion of Lady Gaga and Olivia Rodrigo. Her music, composed and performed admirably by Saleka herself, is rhythmic and infectious, stirring her predominantly teenage fanbase to join in with every lyric and shriek in adoring Beatlemania-like fervor.
Among the attendees, there’s Riley (Alison Donoughue), a charming preteen who accompanied her dad, Cooper (Josh Hartnett), to this concert at Tanaka Arena. He’s making an effort to connect with her by acting all cool and excited, guiding her towards her coveted concert. However, his attempts are a bit over the top. When he slips in a term like “jelly” instead of jealous, it feels awkward. Despite securing them floor seats (in row 44), her friends, or more specifically, the popular girls who were once her friends until last week, have even better seats. In the ongoing competition for approval in modern middle-class family life during the 21st century, Cooper’s efforts place him squarely in the “adequate” category.
Hartnett, radiating stardom from within, infuses the character with an overzealous sweetness that captivates us instantly. However, our attention is diverted when Cooper steps away for a moment and uses his phone to monitor a victim confined in a suburban basement. It turns out this isn’t the film we anticipated. Yet, we are familiar with such plot twists.
As a die-hard movie enthusiast, let me share my take on the plot of “Trap”: Here’s the gist without giving away any spoilers – it’s the crux of this thrilling flick. The antagonist, a chilling serial killer nicknamed ‘The Butcher,’ is notorious for his grisly work, having claimed 12 lives and leaving each victim in gruesome pieces. A nationwide manhunt has been ongoing for seven long years to apprehend him. Now, the authorities, spearheaded by a seasoned FBI profiler (portrayed by the talented British actress Haley Mills), have devised an ingenious plan. They’ve learned that The Butcher is set to attend Lady Raven’s concert. Consequently, they’ve ringed Tanaka Arena with SWAT team members, ensuring no one can escape. With 20,000 attendees, 3,000 of whom are adult males, the stage is set for a high-stakes game. The authorities have pieced together clues from surveillance footage, though they’ve never laid eyes on the killer himself. One potential clue: an animal tattoo. They know The Butcher will be there. Their aim? To expose him and bring him to justice.
Initially, you might wonder: How on earth are they going to unmask this elusive killer? After all, notorious serial killers have a knack for slipping through the fingers of law enforcement. They thrive on anonymity. Is it feasible that the FBI will grill each of the 3,000 concert attendees before they depart, which would take a staggering three days? Or is the profiler, with her uncanny intuition, somehow going to figure out who he is without a trace?
In this scenario, Cooper gathers information about an unusual situation from a staff member at a merchandise booth, prompting him to leave the concert immediately. However, he soon realizes that the only way to escape is by gaining access backstage. As events unfold, Cooper engages in various actions such as theft, eavesdropping on a police briefing, and arguing with Marnie McPhail, a character who is the mother of one of his daughter’s acquaintances. Despite the storyline being somewhat unrealistic, we find ourselves drawn into the narrative, especially given Josh Hartnett’s convincing portrayal as a potentially dangerous character reminiscent of Joseph Cotton’s treacherous Uncle Charlie in Alfred Hitchcock’s “Shadow of a Doubt.”
As a devoted cinephile, I’ve often found myself questioning certain plot twists, especially those by M. Night Shyamalan. In this case, it seems like he was pushing his luck with a twist that, frankly, should have been nixed. It’s during this scene where Shyamalan himself makes an unexpected cameo, appearing as the uncle of Lady Raven. Incidentally, Cooper bumps into him in the midst of a concert, which conveniently sets up a deception about Riley’s health – leukemia, no less. This fabrication is used to get Riley selected as the Dreamer Girl who dances with Lady Raven on stage. The ultimate goal? To grant Cooper access backstage!
It’s not enjoyable.
In the realm of cinematic experiences, the latter half of “Trap” feels like one continuous trap door leading to an intricate web of plot devices that stretch credibility. The film seems to morph into a deep dive, or perhaps an overanalysis, of Cooper’s character: his covert actions, his complex emotional ties, his duality that’s as fascinating as it is confusing. Indeed, he portrays a cold-blooded killer, yet beneath the surface lies a devoted father who cherishes his children. What a paradox!
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2024-08-02 03:47