Enter once again into the world of writer/director M. Night Shyamalan (“The Sixth Sense,” “Split”), a man who can craft some of the most intriguing mysteries while also creating some of the most baffling plots in modern cinema. He’s certainly developed his own touch and style, almost evolving to the point of being critic-proof. His latest is also one of his best in years, a simple concept and a simple title, simply called “Trap.”
The film follows Cooper Adams, played by Josh Hartnett (“Penny Dreadful,” “The Virgin Suicides”), a firefighter who brings his daughter Riley, played by Ariel Donoghue (“Wolf Like Me”), to a concert of her favorite musical artist, Lady Raven, played by Saleka Night Shyamalan. After arriving and noticing increased police presence, Cooper learns that, after learning a notorious serial killer would be attending the concert, the local police have repurposed the concert and stadium as a trap to attempt to capture the killer. Therein is the twist and central moral dilemma, as mild-mannered goofy dad Cooper is, in actuality, the killer they are after.
Harnett is the central focus for almost the entire runtime, and he takes a role this juicy and runs with it. It’s the perfect dichotomy between goofy sitcom dad and genuine menacing threat. He switches back and forth between the personas with laser precision. His performance is simply magnetizing and turns the entire film from something that could have been a C-tier basic cable film to a ball of maddening fun. Donoghue plays the musician obsessed teen daughter role well, and Saleka actually manages to perform in her film debut with an admirable, if wonky, sense of genuine authenticity.
As a mostly one location film, Shyamalan and cinematographer Sayombhu Mukdeeprom (“Challengers,” “Suspiria (2018)”) do a lot to keep things feeling constrained without reaching a state of dullness. Given how much time you spend with Cooper, it works both as a filmmaking technique and also to communicate his increasing sense of desperation and panic. Coupled with Harnett’s performance, it makes for an interesting and remarkably grounded kind of work from Shyamalan.
Until the second half though, when things go completely off the rails to an almost cartoonish degree. Cooper develops the sort of disguise skills and speed to rival Bugs Bunny, and it becomes an almost hysterical game of cat and mouse to just see what bonkers thing he’ll do next. This is also where Saleka’s work becomes its most interesting as well, entering that realm of authenticity as she tears down the facade and stage presence Lady Raven hides behind.
It can at times feel like two completely different films, but they work so well together as if they’re two different halves of Cooper himself: one calmer and hiding the craziness a bit more before getting desperate and letting everything loose with no care for subtly. Shymalan’s script helps to embody this, front loading things with plenty of his trademark off-kilter but endearing dialogue before pushing ahead with a mostly action driven second half that matches the previously mentioned dynamic.
If you’re a fan of his previous works, then it stands to reason that you’ll likely be a fan of Shyamalan’s latest, but even those who previously turned their noses up will likely find something to enjoy here. Harnett’s fantastic performance really goes a long way to bring the entire movie together, amplifying its individual elements and helping to make a more enjoyable tale. It’s still completely a “M. Night Shyamalan” film, but its stronger and more succinct and more fun than his films have been in quite a while. 4/5
No comments:
Post a Comment