Trap 4K 2024 Ultra HD 2160p

A maniac nicknamed “The Butcher” attends a concert with his teenage daughter. Suddenly he realizes that the event was set up by the police to catch him.

User Review
An ordinary family man named Cooper (Josh Hartnett) and his teenage daughter Riley (Ariel Donoghue) go to a concert by a pop star (Saleka Shyamalan). It isn't long before squads of armed police officers converge on the concert hall. It turns out that the enforcers are looking for a maniac nicknamed the Butcher, who is present at the concert, and the hall full of teenagers - a trap. Except Cooper himself is the Butcher. The entrances are blocked, and the police gradually remove all the suspicious fathers from the stands.

Shyamalan continues to tread the territory of the edgy thriller with unyielding tenacity. In recent years, the director has amassed a stockpile of diverse films: trifling (“Knock on the Cabin”), daringly experimental (“Time”) and even unspoken audience hits (“Glass”). Now he is armed with a hypothesis: what if “Silence of the Lambs” unfolds at a pop singer's concert? The tendency to genre hybrids together with frontal irony becomes the main plot energy of “Trap” - a movie in which there is not even a script twist as such (by the way, not every Shyamalan film has one, but you always expect a trick by inertia). The surprise is in the concept itself: the viewer is immersed for an hour and a half in watching the maniac, who is hiding from the police, and at the same time entertaining his daughter at a concert. And Josh Hartnett's transformation into a killer with a psychopathic smile is a twist in itself. Actor, as we know, has long not fallen bright central roles, only appearances on the second plans (say, in “Oppenheimer”).

From Shyamalan's legacy, “Trap” is more like “TheVisit”. The director used the “found footage” genre to make fun of it. In the new film, he pulls something similar, turning an entertaining evening into a scene from Hitchcock's films . The similarity is also found in the fact that the viewer knows more than the characters: the sensitive father is not what he seems, and his smartphone is a repository of terrible secrets. It is in the concert turmoil, under the caressing sounds of ar-n-bi (by the way, sung by Saleka Shyamalan herself) that the director tries to pull the string of suspense. We watch in a state of uncertainty: we want the murderer to be caught and at the same time to slip out of the hall. The cops can't find the Butcher, and the surveillance cameras, which have been placed everywhere, don't help the officers of order. So who does the viewer sympathize with? On the other side of good and evil, of course. On the podium, where it is most convenient to watch the spectacle. After all, it was Hitchcock who revealed this dangerous moral to us.

At the start, Shyamalan had a high-concept plot, but the director had to make a couple of moves and rip the logic at the seams, as “Trap” turned into a mediocre cat-and-mouse. Oh, and with the removal of the masks, when the dark side of Hartnett's character begins to dominate, the movie's gimmick finally comes to naught. Shyamalan almost always lacks sharpness, even in the moments of the most dizzying twists, and, perhaps, the natural audacity with which the conventional Jonathan Demme and Brian De Palma would easily crystallize a first-class thriller. But Shyamalan's method is to warm up the viewer and let him go, to create intrigue and immediately overturn it. The new thriller traps itself, finding no alternate plot outlets, just as Hartnett's character is surrounded by special forces.

The main twist in “Trap” is precisely the director's inability to use his strengths, to make unexpected maneuvers. The movie fails to play on the strings of the audience's nerves: that the crimes of the hero-maniac, that his fall into the trap from an emotional point of view equally indifferent. Interest in the plot twists is also drained - especially when the intrigue is replaced by a series of fantastic events, which can only be called screenwriting quirks.

The film tries to save itself with irony and offers to laugh together: being a perfect dad and a ferocious killer at the same time, it turns out, is very possible. You can also make friends with the seller of branded merch or simply play a ridiculous show in front of the police. But glimpses of self-irony do not help “Trap” much - the promising concept of “a maniac in a trap” is not brought to mind, and Shyamalan misses the opportunity to ride the roller on everything from the thriller genre to a commentary on pop culture, where concerts of Taylor Swift can pull to the stands not only fans, but also psychopaths of all stripes. No matter how much “Trap” is called the most Hitchcockian movie of the author, in fact Shyamalan is clearly far from the English classic. His sporting enthusiasm for suspense often ends up stretching the plot ligaments, and roof-raising twists - a desperate way to keep attention. Unfortunately, “Trap” hasn't brought back the old Shyamalan of the noughties, but it hasn't yet created a new one either.

Info Video

Codec: HEVC / H.265 (88.4 Mb/s)
Resolution: Native 4K (2160p)
HDR: Dolby Vision, HDR10+
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1

Info Audio

#English: Dolby TrueHD with Dolby Atmos 7.1 (48kHz, 16-bit)
#English: Dolby Digital Plus with Dolby Atmos 5.1
#French: Dolby Digital 5.1
#French: Dolby Digital 5.1
#German: Dolby Digital 5.1
#German: Dolby Digital 2.0
#Italian: Dolby Digital 5.1
#Spanish (Latino): Dolby Digital 5.1
#Spanish: Dolby Digital 5.1

Info Subtitles

English SDH, Arabic, Bulgarian, Chinese, Croatian, Czech, Danish, Dutch, Estonian, Finnish, French, German, Greek, Hebrew, Hungarian, Icelandic, Indonesian, Italian, Japanese, Korean, Latvian, Lithuanian, Norwegian, Polish, Portuguese (BR), Portuguese, Russian, Slovak, Slovenian, Spanish, Spanish (Latin America), Swedish, Turkish.