As a seasoned gamer and movie enthusiast with over two decades of entertainment under my belt, I must confess that M. Night Shyamalan has often left me feeling like a player stuck in an endless loop of the same level – intriguing premise but poor execution. His latest offering, “Trap,” unfortunately falls into the very pile I’ve come to dread whenever his name graces the silver screen.
Premise has never been a standout issue for M. Night Shyamalan as a filmmaker. I’d go as far as to say that I would probably be a much bigger fan of his work if his filmography entirely consisted of “Story By” credits. The guy clearly has a knack for coming up with smart high concept plots – be it a psychologist who councils a boy who can see dead people or vacationers who get stuck on a beach where they start rapidly getting older. It’s unfortunately proper execution that so regularly eludes him, and in that respect, Trap is the latest title to be added to continuously growing pile.
Trap
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In a nod to both Shyamalan and Hitchcock, the latest movie presents a thriller filled with a labyrinthine plot that requires a questionable character to untangle. However, it falters by failing to offer anything fresh or innovative regarding its central concept. The allure of such a narrative usually lies in showcasing the protagonist’s cunning and resourcefulness as they navigate through perilous situations realistically, but this film disappoints with its lack of ingenuity and instead becomes rather tedious. Furthermore, it frequently pushes plausibility to the limit, which weakens the tension and undermines the story’s suspense.
M. Night Shyamalan acknowledges that viewers may have seen the trailer for “Trap” and know its general plot. In this film, Josh Hartnett plays Cooper Adams, a man skillfully concealing his dual identity. He’s a devoted family man and loving father to his musically inclined teen daughter Riley (Ariel Donoghue), but he’s also the notorious serial killer known as The Butcher who has been haunting Philadelphia for seven years.
For an afternoon, he stepped into his fatherly role by securing concert tickets for Riley to see Lady Raven, played by M. Night Shyamalan’s daughter, Saleka Shyamalan. However, a sense of unease crept in when he noticed an unusually high police presence at the event. In typical Shyamalan fashion, with dialogue that hinted at the twist to come, Cooper learned from an arena worker, Jonathan Langdon, that authorities had received a tip-off about The Butcher possibly attending the show, and were interrogating anyone who matched the killer’s profile.
Anxious to leave, Cooper starts exploring possible exits, yet finds himself repeatedly going back to his place, lest Riley gets suspicious about any unusual behavior on his part.
Trap fails to pick a lane regarding how we’re meant to feel about Josh Harnett’s Cooper, and it’s a significant problem.
The film Trap oscillates between tedious and absurd as Cooper navigates towards his liberty, with the latter resulting in jarring twists that derail the narrative in its climax. Beneath the questionable plot progressions lies an incapacity for the movie to convey the intended emotional response from the audience regarding the protagonist. It’s not uncommon for a film to prompt viewers to cheer on a criminal’s escape, but Shyamalan attempts this while simultaneously portraying the character as a monster, resulting in a confusing blend.
As a devoted fan, I can’t help but notice the intentional crafting of Cooper’s character to win our hearts: he’s portrayed as a loving father who cracks corny dad jokes (with no hint of abandonment in sight). The story is told entirely from his viewpoint, immersing us deeply in his world. Yet, the dark backdrop of Philadelphia’s infamous serial killer, The Butcher, is chilling, and it’s hard not to feel a sense of unease at the thought of this man evading authorities and living freely with his innocent daughter.
The narrative of this work attempts to create a protagonist who elicits simultaneous support and opposition, but instead of heightening tension, it diminishes the significance of the outcome. Additionally, the antagonist, known as The Butcher, lacks distinctiveness, giving an impression that his murderous traits are textbook-like. By the story’s end, there’s little incentive left to invest emotions in the character’s fate.
Trying to kick start the Josh Hartnett renaissance is stunt casting that doesn’t work.
Instead of Josh Hartnett’s casting being a surprise flaw in the mix, one could say that his selection for the lead role in the film seems somewhat out of place, giving the impression that M. Night Shyamalan was attempting a nod to Quentin Tarantino’s style of reviving actors. However, during Hartnett’s performance as Cooper, he struggles to effectively portray the protagonist, and the attempt to portray him differently from his typical good-looking, charming hero image falls short on screen, as his range is not fully displayed.
In a different rendition: The actor effortlessly portrays the silly father striving to create his daughter’s ideal day at her favorite artist’s concert. Yet, the screenwriter/director aims to reveal The Butcher character in subtle glimpses through his facial expressions, as his smile fades and anger arises when no one is around. However, this transformation doesn’t resonate convincingly. Hartnett should be able to convey a menacing gaze that sends shivers down the spine, but despite the film’s choice of suggesting rather than showing, it remains an aspect he struggles to deliver effectively.
As the story unfolds and reaches its third part, Trap becomes increasingly complex, with Cooper’s facade fading as his desperation intensifies. However, it’s important to note that during this time, the audience is likely more preoccupied by the implausible twists in the plot rather than Hartnett’s failure to convincingly portray an internal struggle.
In terms of character development, plot structure, tension, and the portrayal of a live musical event (the emphasis seems more on video projections than stage performance or choreography), “Trap” by M. Night Shyamalan falls short compared to his work since “Glass” in 2019, leaving fans of cinema feeling let down. As much as we want to support the director given his past successes, this film is not one of them. It’s a pity for a cinephile like myself, who has appreciated many of Shyamalan’s films in the past, but “Trap” does not meet those standards.
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2024-08-05 03:37