M. Night Shyamalan stuck in rut with latest film, 'Trap'

Regardless of what audiences think of M. Night Shyamalan, one thing is certain — his movies always evoke strong reactions. Whether it's the unsettling "The Sixth Sense," the adrenaline-inducing "Split" or even the deeply frustrating "The Last Airbender," the director always takes risks that transform his projects into engrossing spectacles. This is partly due to his distinct use of twist endings, guaranteed to keep theater-goers on the edge of their seats.

But before theater-goers can even settle in, start munching on their popcorn and speculate about the plot twist in his latest film, "Trap," M. Night Shyamalan unveils a new trick almost immediately. Unlike his usual approach of saving twists for the final act, the twist in "Trap" is that there is no traditional, mind-blowing twist — at least, not by M. Night Shyamalan's standards.

"Trap" follows Cooper Adams (Josh Hartnett), a seemingly ordinary father who takes his daughter, Riley Adams (Ariel Donoghue), to see her favorite singer, Lady Raven (Saleka Shyamalan), perform in front of a sold-out crowd. Cooper charms most people with his goofy, girl-dad persona, but underneath that facade, he harbors a dark secret. He's a meticulous, detail-oriented serial killer known as "The Butcher."

Distracted by an opportunity to spend time with his daughter, Cooper makes a rare slip-up that tips off the authorities to his location, piecing together that the concert is double-acting as a sting operation designed to capture The Butcher. What results is a cat-and-mouse game with absurdly high stakes between Cooper and FBI profiler Dr. Josephine Grant (Hayley Mills). If he gets captured, he risks going to jail, or worse — losing his daughter's approval forever.

Even at their most outlandish, M. Night Shyamalan's movies have always been grounded by themes of family and love. "Trap" continues this through line, as these deeply personal sentiments shine through all the blood and gore. When "Trap" is at its best, it plays on universal fears, like not being enough for a loved one, discovering someone you love isn’t who they claim to be or even dealing with ticket scalpers.

Unfortunately, though, "Trap" never truly lives up to the potential of its wholly original concept, as M. Night Shyamalan continues to get in his own way, a recurring issue with his recent lackluster releases like "Knock at the Cabin" and "Old."

A major issue with "Trap" is its characterization, beginning with its protagonist, Cooper. Throughout the film, he's portrayed as profoundly unlikeable and irredeemable, manipulating and physically harming others to give his daughter the greatest night ever. M. Night Shyamalan doesn't ask the audience to sympathize with or root for Cooper but rather to consider the lengths they'd go to for someone they love.

But Cooper's motivation and morality are never fully explored. Structuring a story around a villain is challenging, but the intrigue of successful shows like "Dexter," "The Sopranos" and "Breaking Bad" is through analyzing the flawed logic of their characters, which they believe justifies their immoral behavior. In "Trap," though, the audience never gets a glimpse into Cooper's mind, and his behavior is simply attributed to a vague, offscreen traumatic childhood event.

As a result, Cooper never feels like a fully fleshed-out character. The film insists that he loves his family, but his decisions often contradict that notion. Despite Hartnett's efforts to bring him to life with unique quirks and uncanny facial expressions, Cooper ultimately comes across as a one-dimensional cartoon character. 

It's also hard to get invested in "Trap" when the characters the audience should root for don't feel real. One of the biggest stakes for Cooper is the fear of his secret being revealed and being separated from his daughter. But this conflict is undermined by Riley's characterization — she acts like a stereotypical teenager, and her love never seems conditional.

"Trap" is best enjoyed when the audience members shut their brains off, suspend their disbelief and take everything at face value. This makes for an enjoyable watch of the first hour or so — Cooper devises increasingly inventive and implausible ways to escape impossible scenarios, all set against colorful, disorienting spotlights.

The film also introduces numerous memorable side characters that provide a much-needed comedic element, including an easily excitable vendor riveted by The Butcher (Jonathan Langdon), the vindictive mother of Riley's on-again-off-again best friend (Marnie McPhail) and an eccentric musician (Kid Cudi).

As the film transitions into its final act, its minor issues become full-blown annoyances. In the first act, Saleka Shyamalan is convincing as a Taylor Swift-esque singer with a cult-like teenage fanbase. Her music is catchy, she has a natural singing voice and she has a clear stage presence. As the director's daughter, Saleka Shyamalan will likely face her fair share of nepotism allegations, but her presence underscores the film's themes of fatherhood and idolization.

Here, as Saleka Shyamalan's role becomes more integral, it becomes clear that her acting and the writing of her character aren't as strong as her co-stars'. Her character is given some of the film's most intimate moments, which never come across as believable and unintentionally make the story more convoluted. The film would have been better off devoting more screen time to the FBI profiler, who spends most of the runtime lurking in the shadows, or the side characters, who are largely forgotten by the end.

As the story approaches its natural conclusion and viewers start planning their exits, "Trap" continues drudging along. Instead of delivering his signature twist ending, M. Night Shyamalan stretches the third act and the runtime by introducing new characters, including Cooper's wife, Rachel Adams (Alison Pill). These additions, along with a series of nonsensical events, feel unnecessary and detract from the narrative.

By the end of "Trap," fans are likely to feel a mix of emotions. While the film has its share of fun and thrilling moments, they are overshadowed by baffling decisions that may leave viewers confused and disappointed.

Decades into his career, M. Night Shyamalan remains one of Hollywood's most unpredictable creatives. Although "Trap" offers a fresh take on his infamous twist endings, it ultimately stands as another expected misfire from a once-great director.