In a sense, Hitchcock did make it, because Trap is a clever combination of a whole bunch of different Hitchcock movies, including Psycho, Frenzy, Suspicion, and Rope.
And it was, in fact, Shyamalan's love for “Call Me By Your Name” that compelled him to seek out the Thai cinematographer who, shooting “Trap” on 35mm Kodak film, brings both a cool-handed gloss and a grit as scuzzy and quietly ominous as something like 1988's Dutch thriller “The Vanishing” — also about an obsessive-compulsive serial murderer.
Shyamalan, writing and directing his first film not based on prior material (whether his own as with “Glass” or others' in the misbegotten cases of “Old” and “Knock at the Cabin”) since 2015's “The Visit” and all the better for it, reveals Cooper's macabre nature early.