Shyamalan Delivers a Laughable, Implausible Thriller

With M. Night Shyamalan’s latest film, it’s viewers who might feel ensnared in a “Trap” of nonsensical and implausible twists. Shyamalan is no stranger to cinematic misfires, but “Trap” feels like it hails from a completely different realm. The film asks audiences to buy into a reality where neither the characters nor their predicaments are grounded in any conceivable logic.

Josh Hartnett stars as Cooper, a Philadelphia father taking his tween daughter, Riley (Ariel Donoghue), to see her favorite pop star, Lady Raven (portrayed by Shyamalan’s own daughter, Saleka), in concert. However, the event is more than it appears. Cooper observes a suspiciously high police presence at the venue, soon learning that the concert is a massive sting operation aiming to capture an elusive serial killer, known as “The Butcher,” who is believed to be among the audience.

The twist? Cooper himself is The Butcher. This intriguing premise seemingly riffs on the urban legend around Phil Collins’ “In the Air Tonight,” where Collins allegedly witnessed a man let another drown, and brought him to a concert to expose him. Despite its mythic allure, the premise strains credulity: are federal agents really endangering 20,000 concert-goers to catch one killer? And what about the venue’s insurance policy?

Shyamalan appears disinterested in realistic setups, as evidenced by Cooper’s actions during the concert. He roams the venue unchecked, using the bathroom to livestream his latest victim, befriending a T-shirt vendor who takes him to a storage room, and even eavesdropping on police plans. More absurdly, he stages an explosion and ends up on the building’s roof, all while his daughter enjoys the concert undisturbed.

The plot only becomes more outlandish. Kid Cudi’s cameo as “The Thinker,” a pop guru sporting a platinum blonde wig, adds to the film’s bizarre antics. Shyamalan’s depiction of modern pop culture feels detached, a point highlighted by his previous venture into quirky names, like the rapper Mid-Sized Sedan in “Old.” The film’s intended silliness, if any, fails to generate suspense due to its erratic storyline.

To craft tension, there must be a clear understanding of the characters’ physical and emotional landscapes. What are the stakes? Where are the exits? What are the characters capable of? Shyamalan disregards these essentials, making up rules and conjuring implausible escapes as the story unfolds. This isn’t subverting expectations; it’s discarding the playbook altogether.

Shyamalan offers little insight into Cooper’s psyche. We know he’s been a serial killer for seven years, yet there’s scant exploration of the duality of a man who can be both a loving father and a merciless murderer. The lack of psychological depth leaves Hartnett unable to convincingly navigate his character’s complexities. Despite his resurgent career with recent roles in Guy Ritchie thrillers and “Oppenheimer,” Hartnett’s performance as Cooper feels unsure and shallow.

Ultimately, “Trap” presents a convoluted mix of half-baked ideas that confound rather than captivate. Shyamalan’s knack for twist endings usually saves his films, but “Trap” loses its way from the very start. The film is more puzzling than thrilling, leaving viewers caught in a trap of its own making.

“Trap” is now in theaters.

Source: New York Post