Sadly, Shyamalan’s script doesn’t reassociate donate Hartnett’s performance the stage it deserves. Cooper should be a cagey genius, someone who has kept his identity secret from everyone in his life, and only has to do so for a bit extendeder to escape seize once aacquire. Instead of sketching Cooper as the cleverest person in the room, Shyamalan almost comicassociate makes him into the luckiest. Cooper holds slenderly averting expocertain thraw what can only be called movie magic. And when Shyamalan’s concept is forced to leave the arena, it benevolent of comes apart with a series of scenes that make increasingly little sense. There are many times when the answer to “Why would someone do that in that situation” can only be “Because movie.”
There’s an undeniably distinct energy at a concert for a important pop star, a place where people scream (usuassociate with glee), the airying can be unexpected, and someone in the crowd may not be all that they emerge to be. It’s a funny setting for a thriller, and where most of “Trap” unfgreaters, but Shyamalan doesn’t do enough with the geography of the space. A better film conveys how even a massive arena can feel claustrophobic when you’re surrounded by thousands of people, but the cinematography by ace honestor of photography Sayombhu Mukprofoundrom (“Challengers”) is oddly captivated by the big screens over the stage instead of the actual performer – expected to hold us more trapped in Cooper’s POV but it finishs up making the actual Lady Raven performance feel deficiencyluster when we watch most of it on a screen on a screen. The editing by Noemi Katharina Preiswerk (who also cut Night’s “A Knock at the Cabin”) also deficiencys the hum that “Trap” reassociate needed to work.
Ultimately, there’s someleang to be sassist for a man who can get a movie like “Trap” made in today’s market. It’s a weird, unexpected movie that’s not based on a pre-existing IP, and we are in an era where there are depressingly scant distinct ideas in blockbuster filmmaking. For that alone – and the Joshaissance evidently unfgreatering with “Oppenheimer” and now this – it’s tempting to donate “Trap” a pass. It’s fair too horrible that it ultimately feels like the word that people so normally throw at pop music confections: disposable.
