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Trap Review: M. Night Shyamalan’s Silly, Self-Aware Thriller Is A Messy Tale Of Two Movies – SlashFilm

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Trap Review: M. Night Shyamalan’s Silly, Self-Aware Thriller Is A Messy Tale Of Two Movies – SlashFilm




It was supposed to be the Summer of Shyamalan. After spending the last decade scratching and clawing his way out of director’s jail with one self-financed hit at the box office after another, M. Night Shyamalan must’ve had 2024 circled on the calendar of his comeback tour for quite some time. The one-two punch of “Old” (starring 2022’s biggest Best Supporting Actor snub, the Beach That Makes You Grow Old) and “Knock at the Cabin” felt like a return to the auteur’s minimalist roots, but a quirk of timing meant moviegoing audiences would be introduced to the next generation of Shyamalans in little more than a two-month span. In June, his younger daughter Ishana unveiled her directorial debut while his eldest, Saleka, comes to the forefront this August with her acting debut in M. Night’s latest. “The Watchers” ultimately produced an uneven, if promising glimpse into the future. As for the latter, well, let’s just say “Trap” likely won’t win over any new converts nor rank among his greatest efforts.

Yet for those who identify as among the Shyamalan-pilled — the ones on the right side of cinematic history, in other words – this summer might not be a lost cause, after all.

“Trap” is many things at once: a cleverly-constructed thriller centered on the unlikeliest of protagonists, a darkly comedic lark that’s much sillier (complimentary) than many will expect, and a twisty genre film verging on B-movie/exploitation territory. It’s also a high-concept premise that runs out of steam awfully early, accompanied by a script that’s much less involving by the end than it is to start — a delineation marked by a plot point far too specific to spoil, but one that feels unmistakable in the moment as all the air is let out of the room. Above all else, however, it’s another deliciously complicated addition to a filmography that simply refuses to fit into any neat and tidy boxes.

Is this a lot of words to say that “Trap” is kind of a disappointment? Maybe, but since when has that stopped the more open-minded of us from meeting a film halfway and on its own terms? Messy and destined to divide audiences as it may be, this is one summertime “Trap” (mostly) worth springing.

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Trap is exactly the movie it needs to be … for the first hour, at least

“We’re not gonna break any laws.” “Don’t let people fool you.”

With early lines of dialogue like the ones above, nobody can accuse Shyamalan of not being in on his own joke. That much should’ve been readily apparent from the moment “The Visit” (typically regarded as the beginning of his comeback tour) dropped the dweebiest, whitest tween rapper on us ever captured on film or when “Old” featured characters such as “Mid-Sized Sedan” and Shyamalan’s own extended cameo, where he happened to play a major villain in the story. In “Trap,” that wry and deceptively self-aware sense of humor is back on display as soon as the film opens on a shot of Saleka Shyamalan’s world-famous pop star, Lady Raven, on a T-shirt worn by Riley (Abigail Donoghue). Having dragged her father Cooper (Josh Hartnett) along to the concert she’s been dying to see, the young stan is downright giddy with excitement — an infectious energy that’s only matched by Cooper’s overcompensating dad jokes and aw-shucks goofiness. Everything here lives or dies by Hartnett’s performance, and his many, many sure-to-be polarizing acting choices make him a worthy addition to Shyamalan’s canon of off-kilter leads.

Long before editor Noemi Katharina Preiswerk cuts away to recurring images of cops standing at the ready and SWAT teams descending on the venue, it’s clear that Shyamalan is purposefully toying with our expectations and assumptions. That’s because this is the rare movie where the twist has been spelled out beforehand: Cooper is, of course, secretly the serial killer known as “The Butcher,” responsible for the deaths of at least 12 victims, and the entire event has been turned into a sprawling manhunt designed to capture him specifically. As absurd as it sounds, this is actually based loosely on a real historical event, though that’s been otherwise transformed into a pulpy, boiling-pot premise fit for a Shyamalan thriller.

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True to form, the writer/director knows exactly when and how to ramp up the tension in the early going. He does so by confining much of the action within the interior of this fictional, Philadelphia-set arena. As we wait to see what this sociopathic and increasingly desperate villain will do to get out of this inescapable mess, we’re firmly trapped in his point of view for almost the entirety of the runtime — an intentionally suffocating decision reflected by cinematographer Sayombhu Mukdeeprom (“Call Me By Your Name,” “Suspiria,” “Challengers”), whose roving camerawork represents an extension of Cooper’s own perspective as the walls close in around him.

Trap loses momentum and delivers another divisive ending

It’s an issue that has plagued even some of the greatest one-location movies ever made: How do you maintain a high level of stakes and momentum throughout every minute of a story that takes place largely in the same place? Without spoiling anything, it’s difficult to dissect exactly how “Trap” approaches this conundrum and ultimately fails to take full advantage of its premise. For much of the first hour or so, Shyamalan derives plenty of tension (and a surprising amount of laughs) out of Cooper finding excuses to leave his daughter, avoid the authorities, and frantically search for a way out. The moments where he turns into Jason Bourne, surreptitiously entering employee-only zones and stealing police walkie-talkies to listen in on their operation, are only bested by his bursts of MacGyver-like improvisation to cause sudden feints and distractions. This first act even builds to a gasp-inducing climax and a point of no return — one of the boldest plot turns (if not necessarily a “twist”) I can remember in any recent genre movie.

Once the plot progresses beyond this, however, viewers might end up with the sinking feeling that Shyamalan has just shown the ace up his sleeve — one that maybe shouldn’t have been played so soon.

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Up to that narrative pivot, the script had at least offered some food for thought in terms of theme. Aspects of modern life such as social media, the prevalence (and many different uses) of phones, and the connections we foster as a result feed naturally into the film’s more pulpier concerns. All throughout the concert, the incredibly precise framing and blocking of Cooper and Riley (as remarked upon on Twitter by Shyamalan himself), dwarfed by the massive screens projecting Lady Raven to the masses from the stage, add an unsettlingly effective layer of artifice to the proceedings. And, yes, fans have another hilariously meta Shyamalan cameo to look forward to, which provides one of the best laughs in the entire film. But when the film quite literally runs out of plot, only the filmmaker’s sheer determination and commitment to the bit manage to salvage an ending that throws logic and reason out the door several times over. Provided you haven’t mentally checked out by this point, however, it might just leave you rooting for the villain.

Whether that’s Cooper or Shyamalan himself, one thing’s for certain. The Summer of Shyamalan is about to heat up several degrees, and we wouldn’t want it any other way.

/Film Rating 6 out of 10

‘Trap” releases in theaters August 2, 2024.

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Movie Reviews

Book Review: Captured by Love

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Book Review: Captured by Love
Photo from Leading With Honor on Instagram

Book Review: Captured by Love

By Jason Hooker

Captured by Love is a non-fiction book combining multiple accounts about the real love stories that developed in the lives of the Vietnam War POW’s and their wives back home. It is co-authored by Lee Ellis (a former POW) and Greg Godek (relationship and romance author), who have done a remarkable job of shining light, hope and beauty into the horrific experiences of the POW’s. This positive outlook threads the writing style of every account, each of which is made from interviews and writing from the real people behind the stories. It truly is wonderful to read these true stories of beauty arising from the least likely of contexts. 

At the end of every account, the book takes a moment to pause and reflect on the values we can apply to our romantic relationships, as inspired by the real-life goodness lived out in the lives of the POW’s and their wives. Many of them were men and women of faith and testify to the powerful role their faith played in giving them endurance and hope. We are also intermittently given small insights into the factual history surrounding each story, so that we are grounded in knowledge but not so distracted by facts that it feels like a history book. Every account feels personable and emotionally evocative. 

This book is incredibly inspiring and heart-warming to read. It is an amazing experience to read about the perseverance, devotion and bravery that the POW’s and their wives upheld during times of trial, and it is a wonderful testament to the power of faith. For anyone interested in inspiring true stories, the beauty of romantic relationships, or world history, this book is a wonderful blend of elements that will inspire and uplift you. 

The authors dedicate the book to “couples everywhere that aspire to keep the love-of-their-life, soulmate-relationship vibrant and growing for a lifetime”. 

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Shivam Bhaje Telugu Movie Review, Ashwin Babu

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Shivam Bhaje Telugu Movie Review, Ashwin Babu

Movie Name : Shivam Bhaje

Release Date : August 01, 2024

123telugu.com Rating : 2/5

Starring : Ashwin Babu, Digangana Suryavanshi, Arbaaz Khan, Hyper Aadi, Brahmaji, Tanikella Bharani

Director : Abdul Apsar Hussain

Producers : Maheswara Reddy Mooli

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Music Director: Vikas Badisa

Cinematographer: Dasaradhi Shivendra

Editor: Chota K. Prasad

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Ashwin Babu starrer Shivam Bhaje is the new age divine suspense thriller directed by Apsar. The film has hit the big screens today. Check out our review to find out how it is.

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Story:

Chandu (Ashwin Babu) is a loan recovery agent who falls in love with Sailaja (Digangana Suryavanshi). An unexpected incident causes Chandu to lose his eyesight. After an operation, he regains his vision, but things aren’t the same. He suspects something is wrong about the murders connected to Binary Chemical Pvt Ltd. What really happened to Chandu? What are the motives behind the murders? Who is responsible for the killings? How is the story linked to China and Pakistan? The answers will be revealed in the movie.

 

Plus Points:

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Following Hidimba’s success, expectations for Ashwin Babu were noticeable, and he delivered a competent performance. Actress Digangana Suryavanshi fulfills her role adequately.

Arbaaz Khan performs fine as a policeman, and Hyper Aadhi provides some humour with his comedic timing. The supporting cast, Murali Sharma and Tanikella Bharani, perform their roles effectively.

 

Minus Points:

Despite being marketed as a new-age divine suspense thriller, the film suffers from a weak script and poor narration. The lack of engaging scenes and a coherent screenplay results in an experience that falls short of its potential, often leading to unintended comedy.

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The director’s intention is clear, but the execution fails to create gripping moments that hold the audience’s attention.

The divine angle is poorly developed, making the title feel disconnected from the storyline. The few scenes hinting at a divine connection lack impact.

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The film does not effectively incorporate the potential threat to India from China and Pakistan, missing an opportunity to build suspense. Additionally, the romantic subplot and some comedic elements come across as contrived.

 

Technical Aspects:

As both writer and director, Apsar disappoints. He lacks a more engaging script and suspenseful narration. Improved execution might have led to a more compelling film.

The background score by Vikas Badisa is adequate, enhancing certain scenes. The cinematography by Dasaradhi Shivendra is satisfactory, and production values are reasonable. While the editing by Chota K Prasad is acceptable, trimming some scenes could have improved the viewing experience.

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Verdict:

On the whole, Shivam Bhaje is a disappointing thriller with a lackluster plot. Although Ashwin Babu and Arbaaz Khan deliver fine performances, the film’s weak storyline and ineffective screenplay fall short. It’s advisable to explore other entertainment options this weekend.

123telugu.com Rating: 2/5

Reviewed by 123telugu Team

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“Twisters” Movie Review – Signals AZ

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“Twisters” Movie Review – Signals AZ
Text to speech audio articles made possible by the Quest Grant at Yavapai College. Tuition free industry recognized certificates for your career.

Twisters marks the return of the classic Hollywood blockbuster, a type of summer movie that hasn’t been seen in a couple decades thanks to the box-office domination of superhero movies and sci-fi action spectacles. This disaster film builds on the legacy of 1996’s Twister (starring the late Bill Paxton) by delivering a straightforward, action-packed story of humans vs. nature.

Release Date: 07/08/2024

Runtime: 122 minutes

Director: Lee Isaac Chung

Rotten Tomatoes: 76%

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iMBD: 7.1/10

Where to Watch: In theaters

twisters, movie review, movie reviews, action movies, summer blockbustertwisters, movie review, movie reviews, action movies, summer blockbuster

There are no giant creatures dueling it out, no existential threats to Earth, no evil villains to overcome… all this movie boasts is a great cast of characters and fun set-pieces. At a time when summer blockbusters are still dominated by bloated epics that have become so commonplace they provide nothing but a sense of mundanity, it’s refreshing to watch a story about a small group of people trying to save a couple of towns from natural disasters.

Twisters is tight, focused, and presents a realistic scenario that’s far easier to immerse yourself in. Its script succeeds where many others fail by clearly explaining character motivations, creating ideological clashes, and presenting challenges that are overcome with ingenuity and incremental improvement.

Unlike many legacy sequels, Twisters doesn’t rely heavily on its 1996 predecessor for references or Easter eggs. The characters are entirely new, and the film avoids mythologizing the original cast; while there is a nod to the tornado tracker from Twister, the story stands independently, with its own fresh narrative. Although it shares a similar structure with the original—following rival storm chasers and featuring familiar set pieces like twin tornadoes and a night-time hit—it carves out its own identity.

In essence, Twisters can be seen as a remake of the 1996 film, sharing the basic premise of weather researchers deploying a prototype in the path of tornadoes, facing increasingly severe storms escalating up the Fujita scale, ending with a climactic F5 tornado in the third act.

However, what distinguishes this film from the original is its new cast and stunning special effects that surpass the quaint CGI of 1996. While the original leaned towards horror, this sequel adopts a more realistic and lighthearted approach to storm chasing, allowing audiences to experience the thrill of destruction without resorting to cheap suspense.

For those craving a classic Hollywood flick offering a thrilling ride not seen since Tony Stark donned his Iron Man armor and changed the blockbuster landscape for decades, Twisters is a must-see at your local theater.

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About our Admit One Author

Isaac Albert FrankelIsaac Albert Frankel

Isaac Frankel is a freelance writer and content creator specializing in reviews and analysis of cinema, interactive media, and mythological storytelling. He was raised in Prescott, AZ, wrote his first non-fiction book in 2013 after graduating from Tribeca Flashpoint College with a degree in Game & Interactive Media Design, and currently produces content for the YouTube channel: Off Screen.

More of his work and current projects can be found at www.isaacafrankel.com.


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