M. Night Shyamalan’s ‘Trap’: A new era of cinematic twists

The evolution of a filmmaker

M. Night Shyamalan has been a prominent figure in the film industry for over two decades, ever since he captivated audiences with “The Sixth Sense” in 1999. His career can be divided into distinct phases, each marked by unique stylistic choices and narrative techniques. Initially, Shyamalan was hailed as an A-list visionary, often compared to Spielberg, with films like “Unbreakable”, “Signs”, and “The Village”. This period showcased his talent for creating suspenseful, thought-provoking thrillers.

However, Shyamalan’s career took a turn with movies like “Lady in the Water” and “The Happening”, where his signature twist endings began to feel more like self-parody. This phase was followed by a period of reinvention, where he delved into sci-fi with “The Last Airbender” and “After Earth”. The comeback era began with “Split” in 2016, a film that reintroduced Shyamalan’s knack for psychological thrillers, albeit with a B-movie flair.

Enter ‘Trap’: A new chapter

Shyamalan’s latest film, “Trap”, might signal yet another shift in his career. This movie could be the start of what we might call the “so-contrived-it-makes-Brian-De-Palma’s-loopiest-flights-of-fancy-look-real” era. For about half the film, “Trap” feels like a real-time thriller in the vein of De Palma’s “Snake Eyes”. The setting is a crowded performance arena, where a concert by pop superstar Lady Raven (played by Shyamalan’s daughter, Saleka Shyamalan) serves as both the main event and the backdrop for the unfolding drama.

The concert and the killer

Lady Raven, a blend of Lady Gaga and Olivia Rodrigo, delivers pulsating and catchy songs that captivate her teenage fans. Among these fans is Riley (Alison Donoughue), a middle schooler attending the concert with her father, Cooper (Josh Hartnett). Cooper, trying to bond with his daughter, exudes an overeager sweetness that draws us in—until he checks his phone and reveals a dark secret: he’s a serial killer known as the Butcher.

The authorities, led by a veteran FBI profiler (played by Haley Mills), have set a trap to catch the Butcher at the concert. They’ve surrounded the arena with S.W.A.T. teams, determined to uncover the killer among the 20,000 attendees. The tension escalates as Cooper tries to escape, knowing that the only way out is through the backstage area.

The twist and the unraveling

Shyamalan’s screenplay takes a turn when Cooper, in a bid to get backstage, lies about Riley having leukemia to get her chosen as the Dreamer Girl who dances onstage with Lady Raven. This contrived twist allows Cooper to meet Lady Raven in her dressing room, where he outs himself as the killer. From this point, the film abandons logic and plausibility, asking the audience to suspend disbelief to an almost insulting degree.

A study in contrivance

The second half of “Trap” becomes a series of increasingly far-fetched contrivances. The film attempts to delve into Cooper’s psyche, exploring his divided personality and his love for his children. However, these emotional beats feel hollow, overshadowed by the absurdity of the plot. Unlike films like “The Boston Strangler” (1968), which handled similar themes with haunting realism, “Trap” struggles to make its high-concept serial killer believable or engaging.

Final thoughts

“Trap” is a film that challenges the audience’s willingness to go along for the ride. While Shyamalan’s direction and Hartnett’s performance are commendable, the movie’s convoluted plot and lack of plausibility make it difficult to fully invest in the story. As Shyamalan continues to evolve as a filmmaker, it will be interesting to see where he takes his unique brand of storytelling next.

For those intrigued by Shyamalan’s latest offering, you can watch the trailer for Trap and decide for yourself if this new era of his career is worth the ride.