Movies

The silly techno-thriller ‘Drop’ isn’t quite Hitchcock. Call it ‘Strangers on a Text Chain’

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Titled “Drop,” the newest work from director Christopher Landon (“Happy Death Day,” “Freaky”) offers an excessive techno-thriller spin on a dinner date turning deadly. The story revolves around Violet (Meghann Fahy), a single mom and survivor of domestic violence, who is tentatively meeting her online date, Henry (Brandon Sklenar), at a swanky Chicago restaurant situated high above the city. Her apprehension escalates when an unidentified person bombards her with mysterious air-dropped phone messages and close-range texts that can only be sent within 50 feet. The anonymous sender warns Violet: Engage with Henry or they’ll harm her child.

The setup within it is ingeniously reminiscent of a blend between Alfred Hitchcock and ChatGPT. The narrative veers between silliness, moving too quickly at times, dragging on at others, and becoming preposterously over-the-top. Frankly, the sheer number of elements presented can feel overwhelming. The screenplay penned by Jillian Jacobs and Chris Roach is a unique blend of romantic comedy, a satire of fine dining, an exploration of abusive relationships, and it occasionally throws in some red herrings for good measure.

The narrative begins unfolding harshly as Violet, played by Michael Shea’s character Blake, brutally attacks her. The cinematography of this violent encounter is distressing and gloomy. A kick aimed at Violet’s ribs creates a resonating impact throughout the auditorium. In a subsequent scene, Violet is violently thrown across a table, with the camera following her swift descent to the floor. Underneath all this brutality, there seems to be a message about resilience. However, the overall tone is predominantly somber and disheartening.

In essence, “Drop” mirrors a TV series with its portrayal of Violet’s journey as a virtual therapist. The narrative also presents her son Toby (Jacob Robinson, a renowned 6-year-old TikTok star) and her eccentric sister Jen (Violett Beane). Jen, bringing both wardrobe advice and comic relief, encourages Violet to wear a striking red-velvet tuxedo jumpsuit, a fashion choice that might prompt some style enthusiasts to rush from the movie theater straight into the mall.

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The movie titled ‘Drop,’ a suspenseful production by Blumhouse primarily unfolding within a restaurant, marks a significant step forward in the career of its leading actor, who previously found it challenging to make a name for himself.

The atmosphere shifts anew upon Violet’s arrival at Palate, the enigmatically named eatery serving as the primary stage. In my opinion, every scene unfolding elsewhere feels like a sigh of disappointment. Once Violet navigates Palate’s bewildering entrance, she encounters a sophisticated, liquor-infused haven that exudes elegance yet lacks any discernible personality. Bravo to Susie Cullen for masterfully designing a decor reminiscent of a cocktail-themed amusement park.

As Violet’s awkward date unfolds in front of us, we’ll explore the various nooks of Palate. She finds herself hiding in the restroom to text a menacing figure away from Henry’s gaze, trapped by the cage-like slats. The bar area has the bartender (Gabrielle Ryan Spring) serving up courage in drinks, while a tipsy and bothersome musician (Ed Weeks) plays the piano nearby, trying to catch her attention. In desperation, she asks him to play “Baby Shark,” hoping he’ll leave her alone.

The most memorable moments occur during dinner, where Henry ponders her actions disrupting their arranged meeting. Meanwhile, an amusing waiter (Jeffery Self) chats about the candied ginger in the duck salad, while Violet looks distressed at footage of a masked intruder in her home. Truthfully, I paid little attention to Toby being taken hostage. Instead, I appreciated the date, finding amusement in Fahy’s sympathetic expression that is often mistaken for romantic longing.

In her role with sparkling blue eyes and a flushed red nose, Fahy, gracing the lead for the first time, exhibits such intense stress that it momentarily took me to recall her from her standout performance in “White Lotus” as the carefree, wealthy wife who opts for shopping over therapy. In this case, however, her character is a therapist herself, but this aspect is seldom addressed in the script.

Similar to many individuals today, Violet and Henry express feelings of ambiguity towards contemporary technology, yet it’s ironic because a dating app is what initially connected them. The advertisement “Drop” suggests that leaving your smartphone at home can be beneficial. In Violet’s hands or sitting on the table, it interferes with her ability to communicate effectively; it symbolizes how something meant to bring people closer actually pushes them apart. Even when Violet and Henry manage to connect, their conversations often revolve around content from their phones. This creates a false sense of intimacy, as they’re trapped in a simulacrum of closeness. (For instance, discussing poorly lit suggestive photos.)

The cunningly tech-aware antagonist has set up a strategic position, allowing them to observe Violet’s actions closely. Moreover, surveillance is ubiquitous in the digital realm. Fortunately, we don’t spend too much time engrossed in our phones. Annoyingly, ominous messages flash across the screen in large, over-the-top font — “Your phone has been duplicated,” “Your son’s life is at risk,” and a cryptic allusion to Billy Joel.

So far, I haven’t encountered any film that successfully transforms the mundane act of gazing at a tiny screen into something captivating for the big screen. Landon seems to be veering towards an advertisement-like or meme-ish style, but he may be on the right path by experimenting with expressive techniques reminiscent of silent-film aesthetics. If you find this intriguing, I recommend checking out F.W. Murnau’s “Sunrise: A Song of Two Humans,” a 1927 drama that tells a heartwrenching story about a dangerous rendezvous, with the on-screen text “Couldn’t she just drown?” gradually submerging into a murky lake.

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One bothersome recurring characteristic is that many of the male characters seem to be carbon copies of each other, a pile of good-looking men with sandy brown goatees. It’s not just me who initially confused Henry and Blake as being the same person, thinking the intense opening flashback was actually a flash-forward, right? To help differentiate them, perhaps one could trim his facial hair?

It’s possible – it might be – that the deception is intentional. I have my doubts. In another critical instance, Violet appears to write an important message, emphasized by the dramatic tempo and music. However, despite a close-up view, I couldn’t decipher its contents.

If not for the storyline, the cinematography is outstanding, featuring dramatic illumination and whimsical embellishments: slow-motion sparks from birthday candles on a cake, bird’s-eye views of panna cotta, an opening credits montage with wine and whiskey glasses shattering mysteriously. Scenes emphasize our main characters by dimming the rest of the restaurant into darkness, while there’s even a scene where everything except for Violet vanishes into pitch-blackness as the camera moves upward rapidly like a startled squid. It seems this moderately suspenseful film could benefit from an extra touch of flair to spice things up.

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2025-04-11 18:31

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