M. Night Shyamalan clearly has the talent and vision to still create captivating thrillers, as is evident by “The Visit,” “Split” and “Old,” which revived his career after the spectacular failure of 2013’s “After Earth.” But he’s also more than capable of getting in his own way.
“Trap” stars Josh Hartnett as Cooper Abbot, a firefighter whose ordinary suburban life with a loving wife (Alison Pill) and children masks the fact that he is a notorious serial killer named “The Butcher.” The FBI is on to him, and somehow knows that he plans on attending a Lady Raven (Saleka Shyamalan) concert, where they place the film’s titular trap.
The movie’s best element is its family unit, which also includes Cooper’s daughter, Riley (Ariel Donoghue) and son, Logan (Lochlan Miller). Cooper has genuine love for his family, which is why he meticulously makes sure his two worlds don’t touch, though his wife, Rachel, is suspicious of all his missing time.
Unfortunately, M. Night overshadows it, as well as a fantastic cat-and-mouse dynamic between Cooper, his wife and the FBI when he inevitably goes on the run, by an uninspired and out-of-place concert whose only purpose seems to elevate his daughter’s career, which is a shame. Saleka proves capable in her supporting role — it just takes up too much real estate and doesn’t belong. A concert was also a poor location to set a trap like this in, given all of its variables and the myriad places it allowed Cooper to hide.
Until Cooper gives his hand away to Lady Raven and the FBI willingly, there is almost no threat that he will be found out. The FBI’s lead is paper-thin at best and even if he’s only one of 3,000 males at the concert, that’s not enough to tie him to any of his crimes. Even when he is found out, we learn that he has an extensive network of safe houses that he’s used to throw law enforcement off his trail.
Why not tell that story? Of a loving husband who has this inner darkness and a million different plans that will allow him to satisfy it? The last third part of the film is exciting and hard to predict, as the FBI constantly has Cooper on the run, but he manages to outsmart them at the last minute.
Unfortunately, the film’s first third distracts from that and drags it down, at no fault of Saleka; it’s solely a result of deficiencies in its direction and script, overseen by her father, who served as the writer/director.
The concert, unfortunately does stand out as one of the most blatant examples of nepotism in film in recent years. It’s a shame, because Saleka is not a bad actress and is ready for an ensemble role. If she’s able to land one outside the purview of her father, I think she’ll be able to make a name for herself in her own right.
“Trap” is no “After Earth.” But it also squanders its potential, making for a mostly forgettable experience, save for its last third.
“Trap” gets a 7/10
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