Director: M. Night Shyamalan

Starring: Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills

Primary genre: Psychological

Secondary genre: Thriller

Just when you thought you could be safe from Shyamalan’s work following his creative recovery with “The Visit” (2015) and “Split“ (2017), here comes again an initially intriguing premise plunged into cinematic chaos due to a messy execution and uneven tone reminding us the glory days of “The Last Airbender” (2010). “Trap” pretends to be a clever psychological thriller by employing serial killer pseudo-scientific lingo. However, as it races towards its finale, it converts itself into an unintentional (and hilarious) comedy that reaches “The Happening” (2008) level of stupidity.

Nevertheless, you can’t fault the guy. His deep affection for his daughter led him to lay a trap for the audience members who have come to witness Josh Hartnett’s The Butcher attempting in real time to escape from the clutches of Philadelphia’s finest at a pop diva’s concert. Instead, they get a bait-and-switch central character in the face of the diva herself - Saleka Shyamalan who is the contender for the worst performance of the year detracting from Hartnett’s slightly entertaining take which should have been the film’s main focus.

Be that as it may, you could argue how the movie’s value might lay in grizzly kills, suspenseful sequences or genuine moments of pathos. The familial aspect (represent by his daughter) of The Butcher could have been offered an interesting dynamic whose fatherly love is the only thing that keeps this human monster in the light. Shyalaman’s script though is willing to keep things going staging uninventive set pieces filled with gaping plotholes (e.g., how many people are not in the concert while it is being going on?). Consequently, our villainous protagonist is short of the finesse or intellectual appeal of a Hannibal Lecter, Stuntman Mike or the numerous mom-loving-yet-complete-psycho-gangsters we see in “Black Mass” (2015) or Scorsese’s “Goodfellas” (1990) deprived by scenes of gravitas and urgency. The rest of the cast have nothing to work with, especially the return of the screen legend that is Hayley Mills in a role requiring her spewing orders as the most unconvincing FBI profiler ever who happens to be at the exact same place as her nemesis throughout the running time.

Shyamalan keeps increasing the absurdity of his high-concept thriller through the usage of dumb exposition dumps and convenient plot devices to further facilitate the progression of the story (like Shyamalan’s character - the pop star’s uncle - being the one responsible for choosing the Butcher’s daughter to go on stage). Ghost-directed like a fresh film graduate as enthusiastic as a termite seeking wood in a glass house, this is not the man who once did “The Sixth Sense” (1999) and by the time we reach the that’s-it? finale, “Trap” dares to go to sequel baiting territory after a cluster of illogical decisions, lame subplots and bizarre shots like the disruptive POV shots during banal dialogical segments.

In an era where films like “I Saw the Devil” (2010) and more recently, “Longlegs” (2024) exist, “Trap” is nothing but cinematic fodder. The average acting, lack of stakes and Saleka’s increasing screentime, make this motion picture a toothless thriller. A shame considering there is an idea there that could have resulted into a fascinating and breathtaking entry into the genre. Unfortunately, the script’s inability to sustain our attention is obvious even within the first twenty minutes.

+Hartnett is having fun

+Good premise

-Nepotistic vehicle for MNS’s daughter

-Bloodless, anemic

-Huge plotholes

-Convenient proceedings

-Unknown antagonist

-Idiotic decisions