Trap begins with a high concept and an engaging antihero. It sets up motivated drama. Yet, once its external conflict starts, the story becomes progressively disappointing. Its cat-and-mouse tactics rely heavily on contrivances, easy opposition, and repetition. The plot devolves into excessive twists. Its protagonist's development is a scattershot of superficial psychoanalysis and incomplete relationship arcs. There's unnatural dialogue, deus ex machina, misaligned setup/payoff, and inconsistencies. Elevating all this, Hartnett is a force of layers, facial expressions, controlled intensity, and charisma (supported by chemistry and vulnerability). Still, Trap loses its way.
Technically, Trap aims for psychological tension but becomes monotonous. This is seen in the editing, which gradually fumbles momentum and structure. Its imagery conveys claustrophobic framing, motivated motion, lighting, focus, and composition. Besides an unconvincing dubbing scene, the sound offers atmosphere, distortions, stings, quiet, and symbolism. Despite its plot relevance, forgettable pop songs and thriller scoring make for common music. The production design amounts to a clear yet generic concert setting. Although Hartnett is in a wonderful against-type role, the casting is diminished by nepotism. The effects are minimal but proficient. Altogether, Trap is mixed.
Writing: 4/10
Direction: 5/10
Cinematography: 8/10
Acting: 8/10
Editing: 4/10
Sound: 7/10
Score/Soundtrack: 6/10
Production Design: 7/10
Casting: 6/10
Effects: 6/10
Overall Score: 6.1/10
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