No assembly RequireD

You just never know what you’re going to get when it comes to an M. Night Shyamalan movie. You may think you do and even joke that the filmmaker who has been making features for over three decades enjoys the surprise. Many of his films subvert the expectations to the point where the unexpected has become expected. But Shyamalan doesn’t need plot twists to surprise. No the director is one of the few filmmakers still working today we bring a freshness to his films simply by being otherworldly. Even in films that involve ghosts, aliens, or men turning into beasts the strange and surreal parts of Shyamalan’s films comes less from these exciting aspects and more the notion that even in a film set in our times it still feels like we’ve entered another dimension. The “Shyamalan Zone” if you will. A world where people speak more earnestly, the camera whips and pans with every move of the neck and every piece fits tightly into a strange puzzle and nothing is withheld. TRAP, the sixteenth feature from the director feels like a return to a personal area for Shyamalan. A director who has always made sure his family man role comes first brings us an intense cat and mouse game that is all about well fatherhood. Indebted to the family man both good, bad and straight up evil, TRAP is a tension filled encore to every father who just wants to see their daughter happy and keep the show going even after the final encore. 

Cooper (Josh Hartnett) is just happy to see his daughter happy. A mid 40’s father Cooper is all smiles as his young teenage daughter Riley (Ariel Donoghue) sings along to her favorite artist Lady Raven (Saleka Shyamalan). Cooper is proud to be taking his daughter to the must see Lady Raven concert (that humorously happens to be taking place during the middle of the day). Cooper may be the best looking dad that any divorcee would be thrilled to snag, but he is full hammy dad mode. Hartnett from the first moment is having the time of his life diving into the father role full of corny dad jokes, poorly recorded cellphone videos and just a kind smile that is all for his little girl. For anyone who grew up with Josh Hartnett knows ever since he stepped into our lives in 1998’s “Halloween H20” that the man just exudes first teenage crush. A performer who has shined in the heartthrob but as he has matured as both a man and actor has taken on roles that usually speak as compassionate and determined. And while the “Hartenssance” may be in full force the man never went away and proves it with just a glance. Perhaps that’s why he’s so easily able to sell Shyamalan’s story of a kind hearted father that just so happens to be a serial killer. Yes the Shyamalan surprise (or not surprise for anyone whose seen the trailer or just one bit of marketing) is that the Lady Raven concert is being used as a police set up to catch the murderer known as “The Butcher” and there is no way for any man to escape this concert hall without first going through a final screening not just from the police but an FBI profiler Dr. Josephine Grant (Hayley Mills) who is all too familiar with the Butcher’s ways. Shyamalan a big fan of Hitchcock and his 1948 film “Rope” initially conceived this film as a one take much like Rope, but instead has chosen an equally exciting escape room for his killer. Here is a set up that has bountiful amount of space to toy around with as both a plot and production design while also keeping its audience distracted from the notion that there’s the possibility of a second act switch up. 

Instead of keeping us two steps behind Cooper we are instead engaged in his every move while Shyamalan and his cinematographer Sayombhu Mukdeeprom deliver a gorgeous looking concert that both we and Cooper must navigate. Concerts themselves over the past few years have become a new celebration in their own ways (Taylor Swift and Beyoncé to thank for that while also being disgusted by ticket prices). Shyamalan with his real life daughter Saleka give Lady Raven the concert show that while not as grandiose as the Eras Tour (but yet somehow feels less scripted) still feels rooted in todays concert and music fandom. Shyamalan knows how to build tension but TRAP should be commended for its humor and kind heartedness seen best in a T-shirt vendor named Jamie (hilariously played by Jonathan Langdon). It’s a small bit but Jamie seeing the goodness in Cooper’s dad like quality only emphasis both the charm of Cooper fumbling his way into a dangerous situation as well as how easy it is for the audience to be one over by Hartnett as a performer. TRAP puts its villain right at the center but still has us wanting to see him get out through both curiosity and empathy. 

If there are those looking for that Shyamalan twist then even for a film in more “straightforward” territory TRAP savors some truly surprising elements for a second half portion that this critic would never reveal. Instead this portion is best used as a way to remind both the audience (and the reader of this review hopefully) that Shyamalan is a filmmaker who loves the idea that some things can only happen in the movies. This isn’t to worry that TRAP suspends belief beyond repair but rather that this is a film openly says  what it’s feeling and the actions displayed are not a problem of conscience but rather a celebration of celluloid precision. Hell it’s impossible to look at Hitchcock films enjoy them for what they were and not notice the same antics done by Shyamalan. Yes comparing directors is trite but when the same passion is shared (and so few today actually do it) then it must be acknowledged and respected. 

TRAP can be seen as a film heavily relying on its lead. It’s no surprise that Hartnett is the biggest source of delight throughout the film. His ability to perform as a cuddly bear one moment only to snap into a deadly beast the next is something that old fans will rejoice over and new fans will be terrified by. Hartnett is the glue but Saleka Shymalan is the secret piece. As Lady Raven she does double duty (an original album that Saleka wrote and perform is out now) performing in several fashions. And while Saleka’s role in it all may come to surprise some it’s behind the scenes origin of fatherly love is all the more enjoyable. Even Shyamalan’s expected cameo may be his best knowing the reality of the father daughter relationship both on and off screen. After all Hartnett may be the ever loving father but Saleka as a performer gets to be the proud daughter in her father’s film and even more so show the world what she’s made of, clearly her father knows it already. 

There is a warm feeling even in the most tense moments of TRAP, and boy do they have quite the handful. But TRAP is the kind of film that leaves you with the widest grin throughout. A film that thanks to its PG-13 rating may be one of those earlier informative films for a younger generation that learns how exciting a film can be making them yearn to watch as many more movies as they can to feel that rush once more. Shyamalan whether the film hits or misses for you is still (and most likely always will be) a filmmaker who uses everything at his disposal. Someone with the passion to bring entertainment to the masses while still speaking with a singular voice. If nothing else TRAP shows that M. Night Shyamalan is a proud father of cinema and he wants to show off his children to the world.

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TRAP IS PLAYING IN THEATERS EVERYWHERE FROM UNIVERSAL STUDIOS