M. Night Shyamalan’s latest thriller, Trap, was anticipated as a potential return to form for the director known for The Sixth Sense and Unbreakable. However, instead of a thrilling comeback, audiences are greeted with a film that quickly spirals from disappointing to disastrous.
From the start, the film falters by revealing its twist too soon. We quickly learn that Cooper Adams (Josh Hartnett), who is ostensibly a caring father taking his daughter Riley (Ariel Donoghue) to a pop concert, is actually the notorious serial killer known as “The Butcher.” This revelation, made clear almost immediately, robs the film of any suspense or mystery that could have been built around his double life.
Shyamalan’s knack for suspense is glaringly absent here. The plot’s many contrivances are more reminiscent of a Swiss cheese than a coherent narrative. For instance, Cooper’s attempts to evade capture amidst a crowd of 20,000 people stretch credibility to its breaking point. His luck seems boundless: he fortuitously encounters a helpful souvenir seller and gains backstage access through sheer chance, undermining any potential for genuine tension.
Adding to the film’s woes is the ineffective portrayal of law enforcement, including the chief profiler played by Hayley Mills. Mills, known for her roles in The Parent Trap, is squandered in a role that highlights ineptitude rather than investigative prowess.
Despite these flaws, there is a glimmer of success in Hartnett’s performance. The actor, making a notable return after a hiatus, convincingly portrays both the devoted family man and the ruthless killer. His dual role is a rare highlight in an otherwise lackluster film.
Shyamalan’s Trap attempts to juggle a high-stakes plot with personal drama but ends up failing on both fronts. Its climax, intended to be a thrilling setup for potential sequels, instead amplifies its shortcomings. While Hartnett’s performance is commendable, it’s not enough to save the film from its missteps.
In the end, Shyamalan’s Trap reveals more about the director’s current creative struggles than it does about its narrative ambitions. No sixth sense required here—it’s clear that Shyamalan is running on empty.
