Drop is adequate thriller entertainment filled with lackluster visuals

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It seems that my concerns about contemporary American films not reflecting the current world have been heard, particularly in Hollywood by screenwriters Jillian Jacobs and Chris Roach. Evidently, this is why a new thriller titled Drop, directed by Christopher Landon, has emerged, focusing on suspenseful stories surrounding the iPhone’s AirDrop function, enabling picture sharing among nearby devices. It appears that my online discussions might be resonating in Hollywood. Now it’s high time to exercise my influence. Hurry up, Hollywood! Produce a witty comedy featuring Amy Adams, Ayo Edebiri, and Creech – I insist on it!

Initially, “Drop” centers around Violet (Meghann Fahy), a dedicated therapist specializing in helping survivors of abusive relationships, who herself has experienced such dynamics. Despite her professional knowledge, extending kindness to herself is a struggle she often faces. Violet is reluctant to apply the guidance she gives her patients when it comes to embracing new possibilities, like going on a first date with charming stranger Henry (Brandon Sklenar) they met on a dating app.

Eventually, Violet reluctantly leaves her home, her son, and makes her way to a high-end restaurant in Chicago. However, her anticipated meeting with Henry quickly turns sour as sinister memes flood her phone. Soon after, cryptic messages from an unknown sender start pouring in on her device. These messages command her to behave obediently and follow the person’s instructions. She is told not to disclose anything to anyone, and not to seek help under any circumstances. The stakes are high as her son’s life hangs in the balance, making this date far more tense and nerve-wracking than usual.

The unsettling nature of brief, rapid cuts in an early Drop scene surpasses any fear induced by ominous drops. In this particular sequence, a chilling character confronts Violet, and bartender Cara (Gabrielle Ryan Spring) intervenes. Landon and editor Ben Baudhuin strategically switch the camera between close-up shots of these three individuals, with each image lasting merely a few seconds. This technique creates a disconcerting effect that lacks clarity or amplifies tension. Instead, it appears to be an act of sheer carelessness. The intriguing opportunities for visually expressing Violet’s mental state in this instance are abandoned in favor of dull close-ups.

The cinematography and editing in “Drop” sometimes seem awkwardly clumsy, even in dialogue-heavy scenes with Violet and Henry. It often appears as if they were never filmed together due to their scarcity in the same shot. These oversights are unfortunate because there are intriguing visuals in “Drop.” Memorable moments include grandiose departures from reality, such as the restaurant going dark as a spotlight shines on suspects near the drops. The recurring Dutch angles add tension effectively. However, “Drop” often settles for uninspired, cramped framing. This is disheartening given the rich tradition of films set primarily in one location with exceptional camerawork and blocking, like “Rope,” “12 Angry Men,” or last year’s “Trap.

Although “Drop” may have issues with editing and visual aesthetics at times, it still offers a satisfying dose of excitement for weekend viewing. The suspense is effectively built by the writers and director focusing on amplifying the awkwardness that typically characterizes first dates. Unlike traditional methods of generating tension through violent outbursts, “Drop” skillfully creates unease in viewers by mimicking scenarios where your date seems overly engrossed in their phone or mysteriously disappears for extended periods. Encounters with someone new in a romantic setting are always nerve-wracking and filled with doubt. Cleverly, “Drop” utilizes these feelings to add an emotional depth to Violet’s harrowing predicament.

In a PG-13 setting and adhering to the Blumhouse mainstream style, the concept of Drop doesn’t fully explore its extreme or entertaining possibilities. Yet, it consistently manages to make me grip my fists in fear rather than dread. Furthermore, the limited setting offers Jeffrey Self, playing the eccentric waiter Matt, ample chances to showcase his talent. The main character, Violet, portrayed by Meghann Fahy, may not have left a lasting impression on me, but she effectively serves as a grounded focal point for the storyline.

In the movie “Drop”, it was Brandon Sklenar’s performance that won me over to his potential as a leading man. I’m not sure about his versatility or depth as an actor, but he certainly makes an appealing romantic lead. Sklenar’s presence in “Drop” is a unique blend of a rugged Jeffrey Dean Morgan exterior and a sensitive Hugh Grant interior. He has the look of a man who could construct a barn one moment yet use phrases like “I’m a strawberry girl” while snuggling with you on the couch the next. This combination is quite rare among modern leading men, who often appear too muscular to be just the “everyday guy.” Sklenar effectively conveys that authoritative warmth throughout “Drop”, even though his character doesn’t have much depth in the script.

Sklenar and Fahy’s strong performances in Violet and Henry’s dinner scenes soften the impact of the questionable editing and framing choices. However, other issues with the film, Drop, aren’t compensated for with any creative solutions to make them less noticeable. For instance, Bear McCreary, a frequent composer for Landon, provides a score that is mostly unmemorable except for a theme for the masked villain that bears an unsettling resemblance to Daniel Pemberton’s “The Prowler” from Spider-Verse. Other supporting characters in Drop, who could be suspects behind the mysterious AirDrop messages and images, are largely indistinguishable restaurant patrons. In contrast to Landon’s Happy Death Day, which had a memorable ensemble cast, Drop features a more run-of-the-mill group of fictional characters.

Landon’s dedication in handling both a humorous thriller and a profound contemplation on life after an abusive relationship is truly commendable. Regrettably, the film Drop doesn’t quite reach greatness in either genre. There are other single-room thrillers that are more captivating, and when it comes to exploring abuse survivors, cinema has seen better. For instance, Cannibal Mukbang tackled similar heavy themes while maintaining visual flair and offering far greater amusement and macabre excitement. In essence, the two parts of this cinematic candy bar are acceptable, but they might leave you yearning for a more delectable treat. If all you want is a Twix, though, Drop should suffice. The next time I make a suggestion to Hollywood, I’ll be sure to underscore improvements needed in Drop.

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2025-04-10 21:15