Overview
In The Virgin Suicides, in a role for Sofia Coppola that he'll always be known for, Josh Hartnett played the dreamy high schooler who had Kirsten Dunst swooning. A quarter-century later, as his then-director is fresh from a Priscilla Presley biopic and his former co-star just snapped America's divisiveness at its potential worst as a photojournalist in Civil War, he's now jumped from Trip Fontaine to Trap, still with his appearance and its impact upon others a key factor. Cooper Adams, Hartnett's latest character, likely was a teen heartthrob, too. Now he's a kindly firefighter who dotes on his daughter Riley (Ariel Donoghue, Wolf Like Me) to the extent that he's her chaperone at the Taylor Swift-esque Lady Raven's (first-timer Saleka Night Shyamalan) Philadelphia concert. His politeness wins over people quickly, such as the merchandise-slinging Jamie (Jonathan Langdon, Run the Burbs), who's soon doing him a favour. But Trip wasn't completely the charmer that he seemed, and Cooper isn't just a nice dad doing parenting well — he's Trap's killer.
It was true in The Sixth Sense of Bruce Willis (Assassin), in Unbreakable with Samuel L Jackson (Argylle), of James McAvoy (His Dark Materials) in Split and with Dave Bautista (Dune: Part Two) in Knock at the Cabin: M Night Shyamalan knows how to draw a gripping turn out of his leads. With well-known names in front of his lens, including Hartnett (The Bear), he's just as aware of how to riff on existing audience understanding and expectations. Not everyone who acts for the Glass, The Visit and Old filmmaker receives the same treatment — but when the approach works, it's worth building an entire movie around. Trap is one such flick, clueing viewers in early that Hartnett has taken a Dexter-esque step into a murderer's shoes. Then, it observes the disconnect between the perceptions of everyone around Cooper and his homicidal urges, all as the cops stage a sting at the gig to catch someone they know solely as The Butcher.
When he arrives at the stadium with Riley, Cooper has no idea that attempting to capture him will be the real production of the day. He promised his giddily excited kid that she'd see her favourite singer if she earned good grades and he's delivered; that she's fallen out with her friends and needs something a distraction also factors in. Then Shyamalan, who writes and directs, draws attention to the hordes of police filtering in, plus the profiler (Hayley Mills, Death in Paradise) calling the shots. Cooper equally notices. It's all a ploy, Jamie shares without realising who he's talking to, and there's only one route out. Already juggling checking on his current detainee (Mark Bacolcol, Night Is Limpid) via webcam and being drawn into the schoolyard feud by a fellow parent (Marnie McPhail, Dream Scenario) with ensuring that Riley is having the time of her life, he's now desperately trying to stop his normal-guy facade from crumbling.
The famously twist-loving Shyamalan isn't bashful about Cooper's lethal tendencies. Accordingly, that isn't among the movie's surprises. As Trap's protagonist endeavours to stay ahead of his pursuers in a cat-and-mouse game — they've no idea what he looks like, which assists immensely — and reassure Riley when she starts thinking that he's acting weird, plot shocks remain in store, but so does convenience. Frequently staring intimately at Harnett's face especially when it's wearing a loaded smile, the film aligns its perspective with Cooper's whatever-it-takes efforts to stay avoid handcuffs, yet luck has as much as sway on his path as smarts. As he does with dad jokes and awkwardness, Harnett sells every clever choice and stroke of fortune alike, and compellingly gets audiences into the killer's head, though, in a standout role for the Penny Dreadful, Wrath of Man, Black Mirror and Oppenheimer actor; Trap would struggle without his transfixing commitment.
Even with opportune turns constantly coming Cooper's way, Shyamalan doesn't have a tension problem, in no small part because watching one of his films means inherently being on edge for the next twist, then the next, then the next again — and he gleefully toys with that fact. But he does have a third-act issue, especially when he branches beyond his solid setup. While that choice brings in a welcome supporting performance from Alison Pill (Scott Pilgrim Takes Off) as Cooper's wife and Riley's mother Rachel, it plunges the feature into Lord of the Rings-style too-many-endings territory. Also too often, Trap's decisions feel like Shyamalan simply thinking that something would be nifty. Enlisting Mills given her The Parent Trap background, Kid Cudi's (Silent Night) winking cameo, giving Saleka such prominence: some hit the target, others wish they did.
What lengths will a dad go to for his daughter? That's one of this picture's threads on- and off-screen. In a year that's seen Trap's filmmaker produce the directorial debut of one of his children, with Ishana Night Shyamalan's The Watchers reaching cinemas mere months before his own latest release, he's now penned and helmed a flick that features another of his kids as a pop sensation and has the real-life singer's own music weaved in prominently. As he has long enjoyed doing in his own movies, the Shyamalan patriarch also pops up on camera, this time to praise Saleka's Lady Raven. He's pitched Trap as a Swift gig meets The Silence of the Lambs, but it's as much about wanting to give your children everything, build them up and, when you've got other demands on your focus, still doing your best to be there for them.
Aided by cinematographer Sayombhu Mukdeeprom (who shot Call Me By Your Name, Suspiria and Challengers for Luca Guadagnino, plus Uncle Boonmee Who Can Recall His Past Lives and Memoria for Apichatpong Weerasethakul) alongside editor Noemi Katharina Preiswerk (Knock at the Cabin, Servant), Shyamalan doesn't take his gift to Saleka lightly. The concert-film elements aren't window dressing. He revels in them, sometimes savvily juxtaposing the show's massive scale with Cooper's life-or-death predicament, sometimes with the indulgence of a dad giving his kid a vehicle for her dreams. The Eras tour boasts many things, a date with screens among them, but it isn't also a psychological thriller; mix that with Grand Piano and Mission: Impossible — Rogue Nation's opera scene, and that's Trap's template as well. When Hartnett sings, albeit not literally, so does the film. Donoghue also does her utmost and leaves an impression. But, while engrossing, the picture they're in often plays like a warmup for a big gig that hasn't pulled off everything that it wants to.
