I watched Trap and I didn’t like it. 2/5
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M. Night Shyamalan’s Trap has an undeniably intriguing setup, blending the high energy of a pop concert with the tension of a police manhunt and the darkness of a psychological thriller. It’s an ambitious fusion, following firefighter Cooper Abbott, who takes his daughter Riley to a concert only for us to discover that he’s hiding a sinister secret. But while Trap teases at suspense and delivers some genuinely unsettling moments, it’s ultimately a confusing mix of plot twists and character inconsistencies that fail to hit their mark. Despite a strong performance by Josh Hartnett, who plays Cooper with chilling intensity, Trap falls victim to Shyamalan’s tendency to prioritize shocking reveals over coherent storytelling.
The film begins with surprising promise. We’re introduced to Cooper, who seems like a devoted father treating his daughter to an exciting concert with her favorite pop star, Lady Raven. The atmosphere is vibrant yet uneasy, as Cooper notices an unusual police presence around the venue. Soon, a vendor reveals that the FBI is on a high-stakes mission to capture a serial killer known as “the Butcher,” who is rumored to be attending the show. The tension builds well here, and the chaotic festival environment provides a fresh setting for a thriller, hinting at the possibility of a nightmarish descent into chaos.
Then comes the first twist: Cooper himself is revealed to be the Butcher. He’s more than just a concerned father—he’s a calculating killer, sneaking off to check surveillance footage of his latest captive while attempting to evade law enforcement. It’s a bold choice, making the protagonist the film’s villain, and Hartnett’s intense performance gives Cooper a disturbingly layered personality. His careful movements, the eerie calm with which he navigates the crowd, and his chilling interactions all lend an unsettling energy to the character. If only the rest of the film had matched Hartnett’s commitment to creating a villain who’s both frightening and human.
Unfortunately, once Cooper’s identity as the Butcher is revealed, Trap starts to unravel. The plot quickly becomes a tangled series of chase scenes, double-crosses, and increasingly outlandish plot twists that feel less like genuine surprises and more like attempts to keep the audience off-balance. Cooper manipulates his daughter’s love for the concert to gain access to off-limits areas, all while dodging the FBI’s traps. At first, this feels suspenseful, but the tension quickly deflates as Cooper’s movements become more absurd. The film tries to keep up the mystery, but in doing so, sacrifices a clear story, and we’re left with a dizzying series of events that lose any real emotional impact.
The pacing is another major problem. Scenes swing between long, tedious stretches and chaotic moments of action that feel rushed and disconnected. The film doesn’t let us settle into any particular mood or storyline before pivoting to something new. The FBI’s hunt for Cooper, for example, is built up with some interesting backstory, including a dedicated profiler, Dr. Josephine Grant, who has studied Cooper’s psychology. But this promising thread fizzles out, and Grant’s attempts to anticipate Cooper’s next moves are reduced to a series of disconnected scenes that fail to build on the suspense.
While Hartnett manages to inject some humanity into Cooper, the supporting characters, including Riley and Lady Raven, feel like little more than plot devices. Riley, who could have been a compelling figure torn between her love for her father and the dark truths she uncovers, remains frustratingly one-dimensional. Lady Raven’s character is similarly underused, going from concert diva to pawn in Cooper’s schemes with little motivation beyond a surface-level desire to escape. Even Grant, who seems poised to be a worthy foil to Cooper, is underdeveloped, leaving us with an ensemble of characters who serve the plot but never feel fully alive within it.
And then there’s the ending—a strange, unsatisfying resolution that raises more questions than it answers. In a final confrontation, Cooper is ultimately taken down, but not before his wife Rachel reveals she had been suspicious of his actions all along, subtly helping the FBI close in on him. There’s potential for real drama here, but the reveal feels forced, and the scene lacks the emotional weight it needs to be effective. Instead of a chilling finale, we’re left with a confusing, anticlimactic moment where Cooper’s last act is an eerie laugh as he unchains himself in the police van. It’s a twist that feels shoehorned in rather than a natural progression, leaving us with more loose ends than closure.
In the end, Trap is a missed opportunity. It has all the elements for a suspenseful psychological thriller—a high-stakes setup, an unsettling protagonist, and a unique setting that could have made for a memorable cinematic experience. But Shyamalan’s decision to focus on shock over substance dilutes the impact. The uneven pacing, underdeveloped characters, and increasingly illogical plot twists make Trap feel like a rough draft of a much better film.
Josh Hartnett is undoubtedly the film’s strongest asset. His portrayal of Cooper, a man hiding darkness behind a facade of normalcy, adds depth and intensity to an otherwise weak script. His commitment to the role makes even the film’s most chaotic scenes watchable, and his performance leaves a lasting impression long after the credits roll. It’s just a shame that his talent is trapped in a film that doesn’t know what to do with it.
For fans of Shyamalan, Trap might be worth watching as a curiosity, if only to see how his unique style can both enhance and detract from a story. But for most viewers, Trap will likely feel like a jumbled mess that fails to deliver on its potential. Shyamalan’s talent is undeniable, but this latest outing serves as a reminder that not every twist can save a film from itself.