MIDNIGHT REVIEWS Trap
Midnight Reviews features reviews and thought pieces written and edited by a parent, at night, after bedtime.
Trap (1hr 45mins)
Directed by: M. Night Shyamalan
Featuring: Josh Hartnett, Ariel Donoghue, Saleka Shyamalan
Synopsis: Cooper (Hartnett) takes his daughter Riley (Donoghue) to the show of her lifetime, with two tickets to see Lady Raven (Saleka Shyamalan) live. He notices dozens of police officers spread out around the venue and finds out they’re there to capture a dreaded serial killer. Unfortunately for Cooper, that means they’re after him.
Review: M. Night Shyamalan is a director with a varied and mixed filmography since 1992’s Praying With Anger (a relatively unknown movie which, at least according to general reviews, acts as a bit of a false start). Many words could be written on his polarising work, and many a debate could be had regarding which are entertaining.
What a lot of his movies have in common is the setting within a rather heightened reality. Trap works as it does because of this heightened reality, with the chances of a magnificent grin being plastered on your face directly linked to whether you meet the film on the level it’s intended for. An issue with online review averages is that Trap looks like an average movie according to the all-important metrics — this is false, and like so many times before it is actually a movie people will probably love or hate. The setup in the trailer seems a little hokey but it allows viewers to get themselves in the right frame of mind. Doing so will bring great reward.
The way this film is made puts it firmly in the thriller category. It could so easily have been a horror, full of suspense as we follow this despicable man through the audience, watching his close-ups as he tries to figure out just what to do. We’d cheer whenever he got close to being caught; we’d tighten and grimace every time he got away. However, because of the distance and the unreal nature of the movie, the way Trap is experienced pivots slightly and the entertainment comes from wondering if Cooper will get away, or if the profiler (Hayley Mills) has him pegged the entire time. Instead of a more base emotional response of disgust and desperation, there’s a gleefulness in this cat and mouse chase.
Shyamalan achieves the impossible and manages to weave an emotional thread despite this distance. The inclusion of his daughter as Lady Raven, playing a more prominent part than expected, alongside the fact Cooper’s escape is thwarted so many times purely because his daughter is present, means this movie about a serial murderer on the run from police is really about… family.
No one gives you a movie quite like this.
Intrinsically linked to the family element is a sadness that permeates throughout, bursting to the fore in key moments. Cooper talks about not being able to see his children grow up if he’s caught. He’s forced to separate himself from his family for long stretches in order to sate the need, the creature inside him; even though he enjoys planning and carrying out his murders, Cooper is very aware of this. And without spoiling too much, the ending suggests Cooper hasn’t changed his mind when it comes to his behaviour. Is this a director and writer trying to explain the mindset of someone who needs to make movies, while simultaneously feeling guilty for how much this takes him away from those close to him?
Whether the performances work for individual viewers or not depends on if you believe it’s acceptable to adapt a performance to be less naturalistic in order to move in lockstep with a film. Hartnett is terrific. He perfectly plays with the idea of this intensely charming, friendly man who at the same time doesn’t give anyone any insight into himself beyond what he allows. Cooper’s need for control is evident; his anxiety in regards to this is clear both when planning his murders and arguing with another parent about playground squabbles.
He’s ably backed up by a host of supporting players that ensure the film is not let down. Ariel Donaghue is chief among them, astounding as the only character for a long time who gets within touching distance of realising something is wrong with her dad. Donaghue creates a wonderful feeling of being caught in a terrible whirlpool as her day quickly turns from dream to nightmare. It’d be cliché to say she’s the heart of the movie, but Cooper’s character arc would collapse if Donaghue’s performance weren’t as amazing as it is.
Shyamalan’s direction gives the film an intensity that matches his main character. A strong dose of charm and confidence, but an underlying feeling that something is definitely off. This is definitively a Shyamalan movie. Others could have made a perfectly fine version, but no one gives you a movie quite like this.
As of writing, Trap is still available to watch in cinemas. Go see it, and keep an eye out for SWAT teams by the ice cream counter.
Matthew D. Smith likes to overshare his views on movies and TV shows whenever and wherever he can. Indulge him, and follow him on Twitter or listen to the podcast he co-hosts with Leslie Wai.
