The Trap Review: ★★½☆☆ (2.5/5)
The Trap has a hook that grabs you right away and a standout performance from Friederike Becht. Unfortunately, its layered storytelling and silly late twists make the series more confusing than clever, and the payoff doesn’t match the setup.
Rating: ★★½☆☆ (2.5/5)
Platform: Netflix
Genre: Psychological Thriller
Episodes: 6
Creator and Director: Isabel Kleefeld
Cast: Friederike Becht, Hans Löw, Matthias Brandt
Netflix has dropped another German thriller, and this one comes with a big name attached. The Trap, known as Die Falle in Germany, is created by Isabel Kleefeld, the filmmaker behind the acclaimed Dear Child. That alone has raised expectations, and it is exactly why this series feels like a bit of a letdown.
The story centres on Lisa Konrad, played by Friederike Becht, a successful author who hasn’t stepped outside her house in about ten years. The reason is painful. She witnessed her sister Anna’s murder, saw the killer for just a moment, and has never been the same since. Even seeing her front door open sends her into a panic.
Then one day, she spots the man she believes did it on television. Instead of calling the police and waiting, Lisa decides to set her own trap. She starts writing a crime novel based on her sister’s death, filling it with made-up details to lure him in. The bait is herself. As revenge stories go, it’s a strong setup, and the first couple of episodes pull you in nicely.
If there is one reason to stay with this series, it is Friederike Becht. She plays Lisa as both a frightened victim and someone who may be hiding more than she admits. You believe her fear when the door opens, and you also wonder what she is really planning. Hans Löw and Matthias Brandt give solid support, and Malaya Stern Takeda adds real emotional weight as Anna, even with limited screen time.
The tense game between Lisa and the man she suspects is the most interesting part of the show. There is enough drama in those scenes to fill six episodes without anything else.
Sadly, the series isn’t happy with just a simple cat-and-mouse game. Lisa’s memories are shaky, and her fake novel keeps changing the details of the past. That means you often can’t tell which flashback is a real memory and which is something Lisa has written or imagined. It’s a clever idea in theory, but in practice it becomes confusing and makes the story feel like it’s wandering.
The pacing suffers too. The early episodes lean on clumsy explanations, the middle stretch drags, and the final episodes bring in twists that feel more silly than shocking. There are also a few red herrings that go nowhere. Some viewers may get frustrated with Lisa’s choices along the way, which makes it harder to stay on her side.
Another problem is that certain choices from other characters don’t feel natural. A few meetings seem to happen simply because the plot needs them to, not because it makes sense for the people involved.
To be fair, the series does have something meaningful underneath. It looks at how grief and guilt can trap a person long after a loss and how memory can turn painful truths into softer stories. Those ideas give the show some heart, even when the thriller side stumbles.
If you’ve just finished a different kind of binge, our VisionQuest review covers Marvel’s emotional trilogy finale, and our take on Love of Your Life looks at Margaret Qualley’s pretty but empty healing journey. Both make an interesting contrast with this darker watch.
The Trap is worth a look if you love psychological thrillers and don’t mind a messy road. Keep your full attention on the screen, because it demands focus. Just don’t expect the same sharp, powerful punch as Dear Child.