‘Trap’ movie review: Josh Hartnett does an honest job in M. Night Shyamalan’s dull thriller

Josh Hartnett and Ariel Donoghue in a scene from ‘Trap’ | Photo Credit: YouTube/ Warner Bros. Pictures

M. Night Shyamalan recently shared a hilarious encounter with a fan on Instagram that left him laughing out loud. The fan was waving a sign that featured one of sci-fi cinema’s most disturbing moments: the iconic blurry alien footage from Shyamalan’s infamous birthday party from his 2002 cult classic symptomsComplete with a cheeky caption, “Thanks for the childhood trauma.” Fast forward to his latest venture, NetAnd it’s a real shame that Shyamalan’s biggest problem these days is his inability to utilize the very tools that once crowned him one of the most promising voices in Hollywood. Net As with many of Shyamalan’s recent films, the once-visionary filmmaker seems to be experiencing a famine of creative inspiration, a driving force that previously fueled so much of the childhood trauma that fans have long come to expect from his work.

The film begins with Cooper (Josh Hartnett), who wins the title of Father of the Year by taking his daughter Riley (Ariel Donoghue) to see a concert by her idol, teen pop sensation Lady Raven (Selleka Shyamalan). It’s supposed to be a special night, but if you’ve seen the trailer, you’ve already spotted the twist: surprise, surprise – Cooper is the serial killer the FBI is looking for, and the entire concert is an elaborate sting operation to trap and arrest him.

On paper, this premise was presented fascinatingly by Shyamalan the silence of the Lambs Taylor Swift meets the concert. The main failing of the film, however, is that it reveals its hand too early. The premature revelation takes away the suspense from the film, almost as if the punchline has been heard before the joke has even begun.

Hartnett’s character embodies the chaos of pop spectacle, with all the pomp of (a bootleg) The Eras tour. The arena is packed with screaming teenagers waving glow sticks, and there’s a kaleidoscope of neon lights for choreographed dance numbers. At this point, it’s a toss-up whether to suspend disbelief at Lady Raven’s lifeless stage presence or the FBI’s foolhardy plan to storm a concert filled with twenty thousand citizens based on a ticket stub, which stretches credibility to its breaking point.

Saleka Shyamalan as Lady Raven in a scene from ‘Trap’ | Photo Credit: YouTube/ Warner Bros. Pictures

Saleka Shyamalan’s role as Lady Raven is, to put it generously, a work in progress. While her self-penned SZA-esque R&B vibe can sometimes find its rhythm, her lackluster acting ability leaves much to be desired. Though a singer-songwriter by profession, her casting seems less thematically inspired and more a high-profile case of “take your daughter to work” back in the day. Nepotism certainly explains this, but it nowhere justifies the screen time devoted to her awkward performance. It’s an odd fit draped in glitter and sequins, but few can hope to replicate the unmistakable charisma of Miss Americana’s breathtaking concerts, even if those are loose inspirations.

Shyamalan’s hallmark direction seems scattered here. The potential for a strong thriller is lost amid a sea of ​​intrigue and impossibilities. The concert setting gradually turns into a depressing backdrop for a series of features and lazy performances that only heighten the sense of wasted opportunity.

The lighter moments also miss the mark. Shyamalan has incorporated a number of quirky characters into the story, including a chatty merch salesman who very casually gives Cooper important information, all the while serving as a joke to keen moviegoers who may have paid attention to the original film. The Parent Trap star Hayley Mills as Sting’s head of operations. Cameos by popstar Kid Cudi and Russ as fellow artists are mildly amusing but ultimately distracting, adding little to the story beyond momentary distractions.

Josh Hartnett in a scene from ‘Trap’ | Photo Credit: YouTube/ Warner Bros. Pictures

Despite its shortcomings, Hartnett’s performance remains a symbol of what could have been. He skillfully balances the character’s duality – loving father and ruthless killer – with a cleverly composed personality that deserved a better medium. The juxtaposition between his dishy smile and those predatory eyes added to the film’s compelling early tension, which is unfortunately undermined by its distasteful closing segments.

Shyamalan seems to have lost the touch that once defined his most famous works. The film, however, treads familiar ground with its psychological trap Unbreakable Or splitIt doesn’t have the simplicity and precision that made these earlier films resonate. He’s clearly in creative fatigue, attempting to recapture past glories, only to fall into the trap of the same formulas he once set himself apart from.

Trap is currently playing in theaters