Night Shymalan is a Writer/Director whose films seem to provoke strong reactions. He always seem to be trying for that “surprise twist” ending that appeared in his break-through iconic film “The Sixth Sense” (1999). In “Trap,” which opened August 2nd, the film has so many twists concluding at 103 minutes that I’d be giving away too much of the plot if I were to list them all. Just when you think “this is the end” there’s yet another twist. Personally, I enjoyed most of that. Other critics did not and savaged the film, but it definitely holds your interest throughout.

PLOT

Josh Hartnett plays a father with a dark side who takes his daughter to a music concert that has been set up to catch him there. How do they know he’s among the 3000 men present in a crowd of 20,642? You’ll find out as the plot progresses. His goal is to escape. But can he?

The premise of a doting father taking his teen-aged daughter to a Taylor Swift-like concert is timely. I could definitely relate to the hysteria of young teen-aged girls at these things. Not only did my daughter work for Ms. Swift and have the task of bringing audience members backstage to meet their idol  (the role that M, Night Shymalan has here), but I was present at a Beatles concert in 1965 at the San Francisco Cow Palace, where teen-aged girls with tears streaming down their faces knew every line of every song and screamed themselves senseless.

I remember looking around, each time, and saying to myself, “WTF is going on?”  I was beyond the age of hysterical fandom. But I’ve seen it go down, and it is something to behold and to be in the middle of it is an experience. More could have been done with that by the skilled cinematographer.

I have three main things that I would say about this film:

  • It appears that M. Night Shymalan’s daughter, Saleka Night Shymalan, wants to become a music diva like Taylor Swift. What better way to launch her career than depicting her as one in this film? (she wrote most of the music and performs a lot of it.) After all, it worked for DJT on “The Apprentice” and launched him to the presidency. Saleka even gets to be the heroine of the film when it finally winds down (which doesn’t seem to be happening for Trump right now).
  • Josh Hartnett is an actor whose talent should have been recognized long ago. However,  a less-attractive male lead (Jesse Plemens or Mark Wahlberg, for instance) would have been a better choice to play Cooper. Hartnett is a good actor; he does his best with the script. But we expect our serial killers to be less handsome. We can argue about this, citing Ted Bundy (et. al.)as a serial killer whose appearance was not sinister, and I realize that Hartnett’s good looks did contribute to the success of many of his manipulative moments in “Trap”, but I still think that he comes off as way too “good.” The hidden evil is extremely well -hidden under that good-looking exterior. In “Twisters” (which I recently reviewed) both female leads did credible jobs, but the new (plural) “Twisters” needed the grit of the original “Twister” female lead,Helen Hunt. “Trap” needs less of the matinee idol handsomeness of Hartnett to really convince us he could be “the Butcher.”
  • The music wasn’t as “catchy” as Ms. Swift’s tunes lyrically, but Saleka Shymalan acquitted herself nobly onstage, aided by Kid Cudi as The Thinker. Great costumes. Okay songs and she can sing and play—definite pluses.

THE CAST

Who knew that Hayley Mills of “The Parent Trap” (1960) was still alive? And why would she be running the show as the FBI profiler who sets the trap to catch the Butcher at a concert by the teenaged songtress of the moment, Lady Raven? Someone suggested that Shymalan simply liked the fact that Hayley Mills was in “The Parent Trap” and that was enough. [Not really.]

Alison Pill portrays Cooper’s wife Rachel, and she is one of those faces that you just know you’ve seen in a million movies. She does a respectable but unremarkable job. She’s known for “The Newsroom” (2012-2014) and “Vice,” and has an extensive resume of work.

More remarkable in his role as Jamie, the Black guy who unwittingly helps Cooper out at the arena, is Jonathan Langdon, who provides a bit of comic relief (along with assistance to the bad guy) He’s so memorable that Shymalan has attached a small post script in the film that shows Jamie’s reaction when he learns that he has been duped by The Butcher.

I’ve seen nearly all of Shymalan’s films: “The Sixth Sense” (1999); “Unbreakable” (2000); “Signs” (2002); “The Village” (2004); “Lady in the Water” (2006); “Split” (2016); “Old”(2021); “A Knock at the Cabin” (2023). That only leaves a couple and some of his television work, so I feel comfortable saying that of the films in this list, the best is the classic “The Sixth Sense.” “Trap” would be included as one of the three best, otherwise, book-ended by “Split”—which benefited greatly from a world class acting performance by James McAvoy—and by “Signs”—which had Mel Gibson, Joaquin Phoenix and Rory Culkin (and don’t forget the tin-foil hats!).

The others I’ve listed left you feeling very disappointed, but I was not disappointed in the acting and tension and twistiness of “Trap.” I was just unconvinced that Josh Hartnett was the right choice for the role.

One player onscreen who WAS the right choice for the role was the young girl playing Riley, Cooper’s Lady Raven-obsessed daughter, Ariel Donoghue. The 14-year-old has appeared in a television series, “Wolf Like Me” (2022-2023) and already has eleven IMDB credits. She’s good, and, in this part, she is excellent. I’ll be watching for her in future roles.

So was Josh Hartnett fine at emoting, but he was just too darned good-looking and charming to convince me that he was bad-to-the-bone. (His cross to bear!) Harnett has said, in interviews, that attending a Taylor Swift concert really helped him to understand the scenario.

THE BAD:

Cinematographer Sayonbha Mukdeeprom (“Challengers”) could have done more with the crowd scenes within what is presented as the Tanaka Arena in Philadelphia. Only it isn’t.

Shymalan always pays tribute to his Philadelphia roots and even had a CGI insertion of a building into Philadelphia’s skyline for “Glass,” but I had a sneaking suspicion that this film, which was shot in Canada, was playing fast and loose with the Tanaka Arena’s real location. In fact, the exterior of the building is actually Canada’s Rogers Centre in Toronto and the exterior is Canada’s First Ontario Centre.

In his desire to have numerous twists, a few are waaay out there, (like the final one in the film.) I also object to the “escape from the limo” plot premise. I’m sure others will contribute their own objections to the many attempts at  “twists” that seemed to go on for a good 30 to 45 minutes past what I thought was the finale.

It’s tough to always hit a home run and get a “twist” that satisfies. I salute M. Night Shymalan for continuing to try and for delivering an enjoyable film that holds your interest, despite its shortcomings. I’d predict more singing for M. Night Shymalan’s talented daughter Saleka. Her “Trap”role was a better premiere effort than Ishana Shymalan’s directorial debut with “Watchers,” which had far bigger plot problems than “Trap.”