The Toxic Patriarchy of "Trap": A Cinematic Abomination
M. Night Shyamalan’s latest abomination, "Trap", is a convoluted, cringeworthy attempt to comment on the modern era of superstars and their concerts-turned-cinematic-events. But what we get is a shallow, predictable thriller that reeks of toxic masculinity and societal entitlement.
The film’s premise is laughable: a serial killer, Cooper Adams (Josh Hartnett), uses his daughter’s trip to a Lady Raven concert to evade capture. But what’s really at play here is Shyamalan’s fascination with the entitled, white, male gaze. Cooper’s character is a perfect embodiment of toxic masculinity, using his "charm" and "good looks" to manipulate those around him and avoid accountability.
The film’s "twist" is that the concert itself is a trap, set by the authorities to catch Cooper. But what’s really being trapped is the audience, forced to endure Shyamalan’s lazy writing and predictable plot twists. The film’s reliance on convenient coincidences and plot holes is staggering, making it feel like a lazy, half-baked attempt at storytelling.
And then there’s Shyamalan’s cameo as Lady Raven’s uncle, which feels like a desperate attempt to shoehorn himself into the story. His presence only serves to highlight the film’s poor writing and lack of originality.
But what’s most disturbing about "Trap" is its portrayal of women. Lady Raven, the pop star, is reduced to a mere prop, used to further Cooper’s storyline. And Riley, Cooper’s daughter, is a non-entity, existing solely to be manipulated and used by her father.
In the end, "Trap" is a cinematic abomination, a toxic, entitled mess that reeks of patriarchal privilege. It’s a shame that Shyamalan, once a promising filmmaker, has sunk so low.
Author: Kayitsi.com
