The film begins with a concert by a fictional pop star, Lady Raven (played by Shyamalan‘s real-life daughter, Saleka) and it is being used as a trap to catch a serial killer known as The Butcher. This premise is comparable to a mash-up between The Silence of the Lambs and a Taylor Swift concert.
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The film kicks off at a pop-diva concert at Tanaka Arena, where Lady Raven performs. Lady Raven’s character is reminder of real-life pop icons like Lady Gaga and Olivia Rodrigo.
The concert serves as a trap for the serial killer known as The Butcher, who is revealed to be Cooper, an amiable father played by Josh Hartnett.
The authorities was led by a veteran FBI played by Haley Mills. They believe Butcher is among the 20,000 attendees and plans to catch him by surrounding the arena with SWAT teams.
Their knowledge of the killer’s identity is limited to vague clues including an animal tattoo, and surveillance footage that never captures his face.
Cooper is introduced as a loving father, Cooper’s character gradually reveals darker layers. Hartnett adeptly shifts between being an attentive dad and a sinister killer.
Playing Cooper’s daughter, Riley, Ariel Donoghue brings a sense of genuine excitement and innocence to the screen.
Hayley Mills appears as Dr. Josephine Grant, an FBI profiler bringing a presence to the film. Alison Pill, playing Cooper’s wife Rachel and Jonathan Langdon, the comedic merchandise vendor.
Shyamalan’s use of off-kilter shots and negative space enhances the film’s suspense. The arena becomes a claustrophobic maze, heightening the sense of danger as Cooper maneuvers through the concert venue.
The film wastes no time revealing its central twist. This revelation transforms the narrative from a simple thriller into a complex cat-and-mouse game.
However, while the twist is engaging it lacks the element of surprise typically associated with Shyamalan’s work.
The film embodies the classic trope of the charming suburban dad with a hidden dark side and the film attempts to go into his psyche to reveal his motivations.
The first half of Trap is engaging with a steady build-up of tension. The concert setting and the looming threat of the killer create a sense of urgency that keeps viewers on edge.
The narrative begins to lose focus. The repetitive nature of Cooper’s attempts to outwit the authorities and escape the concert venue diminishes the stakes.
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By the third act, the film struggles to deliver a satisfying climax. The eventual resolution feels rushed and lacks the impact that earlier scenes promised.
Shyamalan’s penchant for unexpected endings is present, but the payoff is less than gratifying.
Trap is a personal project for Shyamalan featuring his daughter Saleka as both a cast member and the film’s musical force.
Saleka’s music is woven throughout the film contributing to its atmosphere. Her songs combined with Herdís Stefánsdóttir’s score created an auditory experience that complements the visual tension.
The idea of setting a thriller within a concert is innovative. The film’s cinematography and concert sequences are visually striking.
The film’s narrative becomes complex with twists that sacrifice coherence for shock value. While the first half is engaging, the film’s momentum falters midway leading to a less impactful climax.
Some supporting characters including the FBI profiler and Cooper’s wife are underdeveloped.
Trap can be compared to Shyamalan’s previous films, “The Sixth Sense” and “Signs,” which are celebrated for their unexpected twists.
The film draws inspiration from Hitchcock’s thrillers particularly “Shadow of a Doubt,” which also explores the theme of hidden evil.
Trap falls short of capturing the psychological tension and complexity that characterize Hitchcock’s masterpieces.
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