In the director's latest film, a father and daughter attend a pop concert that becomes part of a ploy to catch a deadly serial killer.
delivers on one of those references more than the other. The film is a concert movie for Shyamalan’s daughter, the musician Saleka, wrapped in a middling thriller kept afloat by a compelling performance fromopens with Cooper , a dad-joke machine, and his daughter Riley at a concert for pop sensation Lady Raven .
Riley, who has been struggling with some friends at school, seems particularly excited. She rushes her father through the parking lot where they’ve parked, eagerly joins a group of girls dancing near concessions and marvels at the merchandise available for purchase. This would be a typical concert scene if it weren’t for the swarm of police officers patrolling the arena and guarding each entrance.
With the help of an amusing merchandise vendor, Jamie , Cooper learns that Lady Raven’s show is a sting operation. Federal agents and local authorities are trying to catch The Butcher, a serial killer whose victim count recently entered double digits. As Jamie divulges the details of the enterprise, including the special code words staff must use in the presence of The Butcher, Cooper gets increasingly nervous.
For the truly spoiler-averse, now is the time to stop reading. Those who watched the trailer know that Cooper is the wanted man, but that’s only the first twist. becomes a suspenseful game of cat and mouse. The first half of the film is precise and entertaining. Working with master cinematographer Sayombhu Mukdeeprom, Shyamalan gleefully experiments with off-kilter shots and negative space to render the arena as a booby-trapped maze.
For a while, it’s thrilling to see Cooper outwit the authorities and Hartnett is a big part of that. His performance is wily, often funny and subtle in its shiftiness. He’s introduced as an anxious father but then his particular behaviors — a hyper-attention to detail, the effortful attempt to control his jaw muscles, the tenseness of his smile — become signs of a more malevolent violence.
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