---
title: "Trap"
year: 2024
kind: "film"
canonical: "https://film.one/film/trap"
fi1m_id: "trap"
imdb_id: "tt26753003"
tmdb_id: 1032823
wikidata_id: "Q124077893"
fi1m_score: 58
critics_score: 57
critics_reviews: 20
published: "2026-09-09"
updated: "2026-09-18T08:37:58.805636+00:00"
region: "AT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Trap (2024)

Directed by M. Night Shyamalan · 1h 45m · FSK 14 · Crime, Horror, Thriller

## Identity

Trap

- **Canonical:** https://film.one/film/trap
- **Type:** Film
- **Fi1m ID:** trap
- **IMDb ID:** tt26753003
- **TMDB ID:** 1032823
- **Wikidata ID:** Q124077893
- **Same entity:** https://www.imdb.com/title/tt26753003/, https://www.themoviedb.org/movie/1032823, https://www.wikidata.org/wiki/Q124077893

**Fi1m score: 58** · Critics 57 from 20 reviews

*In a sentence:* Josh Hartnett spends the film looking for the exit and, by the end, so were we

> Shyamalan hands Josh Hartnett a serial killer with a teenage daughter and a pop concert ringed by police, and for an hour it is a sly, funny cat-and-mouse. Then the film leaves the building, and most of the plotting goes with it.

## Synopsis

Cooper (Josh Hartnett) takes his teenage daughter Riley (Ariel Donoghue) to see the pop star Lady Raven (Saleka Night Shyamalan) at a sold-out arena show. Within minutes he has noticed that there are far more police in the building than a concert needs, and a merchandise seller called Jamie (Jonathan Langdon) tells him why: the whole event is a sting, staged to catch a serial killer the press call the Butcher. The film does not hide for long that the Butcher is Cooper. While Riley waits for her favourite song, her father starts looking for a way out, past the guards, the profiler running the operation (Hayley Mills) and the cameras. Alison Pill plays his wife, Rachel. M. Night Shyamalan writes and directs.

## Review

M. Night Shyamalan’s *Trap* starts with a good idea and a better actor. Cooper (Josh Hartnett) takes his daughter Riley (Ariel Donoghue) to see Lady Raven (Saleka Night Shyamalan), and before the first song is over he has counted the police at the doors. A chatty merchandise seller, Jamie (Jonathan Langdon), tells him what they are for: the concert is bait for a serial killer the press call the Butcher. Cooper thanks him, buys a T-shirt and goes back to his seat, and the film tells us almost at once that the Butcher is him. What follows is an hour of proper, sly fun and roughly forty minutes of a film hunting for a way out and not finding one.

Hartnett is the reason to see it. He plays Cooper as the sort of father who says the word awesome and means it, who knows the words to the songs and is faintly embarrassed to, and he lets us watch that face do two jobs at once: fret about where Riley has got to, and measure the distance to the nearest stairwell. When a stranger speaks to him there is a small delay before the smile arrives. We laughed at his first improvised lie, an outrageous one told to a security guard with a straight face, and then felt a chill at how quickly we had started rooting for him to get away with it. That chill is the film’s best trick, and Hartnett does it without any help from the script.

Sayombhu Mukdeeprom shoots the first hour largely from Cooper’s eye level, in the stands and on the concourses, so the stage is usually off to one side and the doors are in the middle of the frame. He keeps the camera close to Hartnett, often too close for comfort, with the crowd a blur of phone lights behind him. The arena is pink and violet where the show is and strip-lit grey where Cooper wants to be, and Debbie DeVilla gives him plenty of grey to work with: service corridors, stairwells, back rooms with the wrong people in them. Noëmi Preiswerk cuts it patiently, one problem at a time, and Herdís Stefánsdóttir’s score stays low and mostly out of the way of the songs.

The songs are the first difficulty. Lady Raven performs them in full, several times, and the film stops to watch. Saleka Night Shyamalan is the director’s daughter, can sing, and the songs are competent radio pop; the trouble is that every time the camera lingers on the stage it has left the man we came to watch. Riley is delighted, and Donoghue plays her delight well, all elbows and screaming, but the film’s interest in the concert outlasts ours by some minutes.

The second difficulty is the second half, which leaves the arena, and we will not say where it goes. What we can say is that the escapes that follow depend on one person after another doing the convenient thing, and that each is a little harder to swallow than the last. Hayley Mills, as the profiler Dr Josephine Grant, delivers the killer’s psychology in the tone of someone reading from a leaflet, which may be the writing rather than the actress. Alison Pill, as Cooper’s wife Rachel, arrives late and does more in a few quiet minutes than the plot around her earns. By the last twenty minutes we were sighing at the screen, and then cross with ourselves for having been so pleased an hour earlier.

Shyamalan has always written dialogue as if translating it from a language nobody speaks, and here that stiffness helps and hurts. It suits Cooper, whose normality is a performance anyway, and it makes everyone else sound like an extra who has been given a line. *Split* (2016) built a whole film around one performance and kept the story with the performance. *Trap* has the performance and lets the story wander off.

See it for Hartnett and for the first hour, which is as much fun as Shyamalan has been in some time. Watch it at home if you can, where the songs are shorter than they feel in a cinema. It runs 105 minutes and carries a 15, and the 15 is earned late.

*Fi1m score 58, published 9 September 2026.*

## What the critics say

Most critics agree on one thing: Josh Hartnett. His performance as the doting father with a second life is praised almost everywhere, for its charm, its oddness and its willingness to be silly; only Screen Daily finds him uncompelling in the dual role.

Beyond that the reviews scatter widely. The warmest notices, from The Playlist and The Wrap, call it one of Shyamalan’s most suspenseful films in years and admire the way it turns a familiar premise inside out. The largest group is lukewarm: they enjoy the first hour in the arena as a tidy cat-and-mouse game, then watch the momentum drain away as the plot grows contrived and the setting changes. The harshest reviews, led by The Guardian, call it limp and tension-free and object to the casting of the director’s daughter, a complaint Empire shares and Deadline flatly contradicts. The premise divides critics too: ridiculous but fun to some, simply ridiculous to others.

## Straight answers

**Is Trap worth watching?**

*Trap* is worth watching for Josh Hartnett and its first hour, but not for its second, and we scored it 58. Hartnett makes a serial killer at a pop concert both funny and unsettling while the film stays inside the arena; once it leaves, the plotting depends on one convenient decision after another. Best for Shyamalan admirers who can forgive a weak finish.

**How long is Trap, and what is it rated?**

*Trap* runs 1h 45m and is rated 14 by the FSK in Austria. It is a crime and horror film.

**Where can I watch Trap in Austria?**

*Trap* is streaming on Netflix in Austria, and it is also available to rent from Amazon Prime Video from €3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Trap, and is it suitable for children?**

*Trap* carries a UK 15 certificate and is not suitable for children, though most of its running time is tension rather than gore. The film follows a serial killer trying to slip out of a concert ringed by police, and the harder material arrives late, which is where the 15 is earned. Older teenagers who like thrillers should manage it; the squeamish should expect a nastier last act than the sly, cheerful opening suggests.

**How does Trap compare to Man Bites Dog?**

*Trap* is the slicker and more comfortable film, but [*Man Bites Dog*](https://film.one/film/man-bites-dog) is the sharper one. Both hand the camera to a chatty, likeable murderer and dare us to enjoy his company; the Belgian mock documentary follows that idea all the way down, while Shyamalan's thriller loses its nerve and its plotting after the first hour. Choose *Trap* for a night of mainstream suspense, *Man Bites Dog* if you want to be properly disturbed.

### Reviews we read (23)

- **Total Film**, Ken McIntyre (75/100, inferred): The critic praises the film as an intense thriller where Shyamalan moves away from his usual twists. The strong central performance and focused premise are highlighted as strengths. [Read](https://www.gamesradar.com/entertainment/thriller-movies/trap-review/)
- **Sight and Sound** (70/100, inferred): The critic finds it a taut puzzle box that challenges viewers' loyalties by aligning them with a split-natured protagonist who is both caring father and ruthless killer, ultimately confronting moral ambiguities in a family context. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/trap-m-night-shyamalan-tests-our-morality-this-twisted-family-thriller)
- **The New York Times**, Amy Nicholson (70/100, inferred): The film works best in its first half as a mischievous thriller centered on a father and daughter at a concert. Hartnett's likable performance and the dad-daughter chemistry stand out amid the escalating tension. [Read](https://www.nytimes.com/2024/08/02/movies/trap-review.html)
- **The New Yorker**, Richard Brody (65/100, inferred): The thriller's core irony is that family life is murder, with Cooper's double life as a doting dad and serial killer providing the real kick. The arena-set action is expertly realized through visual cunning, though the plot grows less engaging outside it. [Read](https://www.newyorker.com/culture/the-front-row/the-macabre-ironies-of-m-night-shyamalans-trap)
- **Little White Lies**, Hannah Strong (4/3/3): The critic praises Hartnett's performance as both goofy dad and cold-blooded killer but notes the plot doesn't fully deliver on its premise, resulting in a film that doesn't quite kick into top gear despite strong technical craft. [Read](https://lwlies.com/reviews/trap)
- **Radio Times**, Sean McGeady (3/5): The critic sees it as a playful off-kilter thriller that's more dark comedy than nail-biter, enjoyable for its silliness and Hartnett's performance but undermined by an absurd premise. [Read](https://www.radiotimes.com/movie-guide/b-2e6um0/trap/)
- **The Telegraph** (3/5): The critic calls the film 100 per cent ridiculous and barking mad yet finds it a fun, cheekily outrageous cat-and-mouse ride worth a spin despite its silliness and lack of real suspense. The loopy psychothriller indulges its goofy premise effectively enough. [Read](https://www.telegraph.co.uk/films/0/traptrap-review-m-night-shyamalan-josh-hartnett/)
- **The i Paper**, Christina Newland (45/100, inferred): The critic notes the absence of twists as a bold but ultimately limiting choice that leaves the plot with nowhere to go after early reveals. Hartnett's impressive acting is singled out, though the film peters out with clichés and silly escapes in the later acts. [Read](https://inews.co.uk/culture/film/trap-review-m-night-shyamalan-film-3219538)
- **Screen Daily** (40/100, inferred): The critic finds it a lacklustre thriller with an appealing sense of play but fumbles the cat-and-mouse intrigue due to Hartnett's uncompelling performance in the dual role. [Read](https://www.screendaily.com/reviews/trap-review/5195957.article)
- **Variety**, Owen Gleiberman (40/100, inferred): The film begins promisingly as a real-time arena thriller but collapses into increasingly contrived twists and implausible plotting. Hartnett brings charm to the serial-killer role, but the story's emotional and logical credibility suffers. [Read](https://variety.com/2024/film/reviews/trap-review-m-night-shamalyan-josh-hartnett-1236093073/)
- **Empire**, Dan Jolin (35/100, inferred): The review finds the premise initially promising but ultimately inert and unengaging as it abandons its single-location setup too quickly. Hartnett's performance is noted positively, but the nepo-casting of the director's daughter and lack of tension are criticized. [Read](https://www.empireonline.com/movies/reviews/trap/)
- **The Guardian** (25/100, inferred): The critic finds Trap a limp, tension-free dud that fails as a thriller and serves mainly as an embarrassing showcase for the director's daughter. The premise is underdeveloped, the dialogue ungainly, and the situations illogical and dull. [Read](https://www.theguardian.com/film/article/2024/aug/02/trap-review-m-night-shyamalan)
- **The Hollywood Reporter**, Lovia Gyarkye: The critic describes it as a middling thriller kept afloat by Josh Hartnett's compelling, wily performance as a father with a dark secret. The first half delivers precise suspense in the concert setting but the film loses momentum in later acts. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/trap-review-m-night-shyamalan-josh-hartnett-1235964691/)
- **Vulture**: The critic finds the preposterous premise works better than expected thanks to Josh Hartnett's standout performance as a serial killer posing as a devoted dad. It is clever and committed to its schlocky idea but not smart, with diminishing returns after leaving the arena. [Read](https://www.vulture.com/article/trap-review-josh-hartnett-gives-grade-a-murder-daddy.html)
- **The Playlist**, Rodrigo Perez (B+): The critic praises the film as one of Shyamalan's best in years, an entertaining single-setting thriller that boldly shapeshifts into something darker, more disturbing, and heartfelt in its later acts. Hartnett's terrific performance and the premise's challenge to notions of hero and protagonist are singled out. [Read](https://theplaylist.net/trap-review-m-night-shyamalans-entertaining-thriller-shapeshifts-into-a-compellingly-darker-effort-20240801/)
- **The Wrap** (80/100, inferred): The film is a fiendishly clever and tightly wound thriller that reverses a familiar Shyamalan premise to strong effect, making one of the director's most suspenseful works. Hartnett gives an impressively wicked and funny performance as the central character, supported by unexpected narrative turns. [Read](https://www.thewrap.com/trap-review-josh-hartnett-m-night-shyamalan/)
- **Den of Geek**, Joe George (75/100, inferred): Trap plays to Shyamalan's strengths as a pulpy B-movie director by placing genuine emotion atop an outrageous premise involving a serial killer at a concert. The critic praises Josh Hartnett's remarkable performance and the film's embrace of trashy, fun elements over pretentious ideas. [Read](https://www.denofgeek.com/movies/m-night-shyamalan-trap-pulpy-b-movie/)
- **Consequence** (C+): The first two-thirds offer a compelling Hitchcockian cat-and-mouse game at the concert, but the plotting falls apart afterward with too many twists that become tedious. Ariel Donoghue stands out with her relatable portrayal of a concert fan. [Read](https://consequence.net/2024/08/trap-review-josh-hartnett-m-night-shyamalan/)
- **/Film**, Jeremy Mathai (6/10): The critic calls it a messy tale of two movies: a cleverly constructed thriller with tension and dark humor in the first hour that gives way to a loss of momentum and logic later on. Hartnett's committed, off-kilter lead performance and the film's self-aware silliness stand out as highlights. [Read](https://www.slashfilm.com/1629137/trap-review-m-night-shyamalan/)
- **Polygon**, kayti-burt (60/100, inferred): Trap feels like a true neutral Shyamalan movie, ambitious in concept but distracted in thematic exploration and delighted in its own twists. It is a fun but halfhearted execution relying more on sentiment than suspense, with too much on its plate. [Read](https://www.polygon.com/24212250/trap-review-shyamalan-m-night-movie-hartnett/)
- **Collider**, Ross Bonaime (50/100, inferred): The film shows glimpses of Shyamalan's former brilliance but falters with awkward choices and laughable moments. Josh Hartnett shines portraying the character's complex duality, though the story struggles to build tension and consistently falls short of its potential. [Read](https://collider.com/trap-movie-review/)
- **Deadline**, Pete Hammond (40/100, inferred): The review finds the premise initially intriguing but criticizes the plot for descending into extreme absurdity and losing credibility after the concert sequence. Hartnett delivers a committed performance as the lead, and Saleka Shyamalan shines in her role and songs, but the film overall fails to cohere. [Read](https://deadline.com/2024/08/trap-review-josh-hartnett-tries-hard-but-cant-save-m-night-shyamalans-convoluted-serial-killer-thriller-1236029744/)
- **Paste**, Brianna Zigler (7.0): Trap is a tense, imperfect thriller that serves as a showcase for Josh Hartnett's performance as a loving father who is also a serial killer. It is a sturdy and fun little thriller despite third-act stumbles, tapping into themes of fatherhood. [Read](https://www.pastemagazine.com/movies/m-night-shyamalan/trap-review)

## Details

- **Director:** M. Night Shyamalan
- **Director:** M. Night Shyamalan
- **Writer:** M. Night Shyamalan
- **Cinematography:** Sayombhu Mukdeeprom
- **Editor:** Noemi Katharina Preiswerk
- **Music:** Herdís Stefánsdóttir
- **Production design:** Debbie DeVilla
- **Costume design:** Caroline Duncan
- **Producer:** Ashwin Rajan, M. Night Shyamalan, Marc Bienstock
- **Cast:** Josh Hartnett as Cooper; Ariel Donoghue as Riley; Saleka as Lady Raven; Hayley Mills as Dr. Josephine Grant; Jonathan Langdon as Jamie; Alison Pill as Rachel; Mark Bacolcol as Spencer; Marnie McPhail as Jody's Mom
- **Runtime:** 1h 45m
- **Certificate (FSK):** 14
- **Release (Austria):** 1 August 2024
- **Genres:** Crime, Horror, Thriller
- **Budget:** $30 million
- **Box office:** $84 million
- **Trailer:** https://www.youtube.com/watch?v=mps1HbpECIA

## Where to watch in Austria

- Netflix: streaming
- Amazon Prime Video: rent €3.99, uhd
- Amazon Prime Video: buy €3.99, uhd

*Checked 2026-09-10.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, GR, HK, HR, ID, IE, IL, IN, IS, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Peeping Tom* (1960): Michael Powell puts us behind a killer’s camera and dares us to look away.
- *Le Boucher* (1970): Chabrol’s small-town butcher is courteous, lonely and the reason the girls are dying.
- *The Stepfather* (1987): Terry O’Quinn wants the perfect family and disposes of each one that disappoints him.
- *Man Bites Dog* (1992), Fi1m 78: A Belgian film crew follows a chatty murderer and stops noticing what they are filming. — [Fi1m page](https://film.one/film/man-bites-dog.md)
- *Split* (2016): Shyamalan at his tightest: one performance, one basement, and the story never leaves.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/trap