Meghann Fahy, left, stars as Violet and Brandon Sklenar plays Henry in Drop, directed by Christopher Landon.Bernard Walsh/Universal/Supplied
Drop
Directed by Christopher Landon
Written by Jillian Jacobs and Chris Roach
Starring Meghann Fahy, Brandon Sklenar and Reed Diamond
Classification PG; 95 minutes
Opens in theatres April 11
Critic’s Pick
Forget the brewing tariff war between the United States and China – the best argument for getting rid of your iPhone can be found in the nifty high-concept thriller Drop, which imagines terrifying new consequences of having too much screen-time.
https://www..com/arts/film/article-meet-christopher-landon-hollywoods-go-to-master-of-paranormal-activity/
Inspired equally by Wes Craven’s strangers-on-an-airplane thriller Red Eye, Joel Schumacher’s Phone Booth, and all the many “Die Hard but on an X” movies that flooded theatres in the late ‘90s, Drop takes place almost entirely on the 38th floor of a Chicago high-rise. That’s where the chic restaurant Palate is located, which tonight is hosting a first date between widowed single mom Violet (Meghann Fahy) and charming photojournalist Henry (Brandon Skelar).
After flirting with Henry for months on “an app” (no surprise that Tinder didn’t want its name tied to what follows), Violet is excited but also on edge, which is understandable given that she hasn’t spent a night away from her young son since he was born. But her nerves get significantly more frayed once a stranger starts air-dropping (or “digi-dropping,” to avoid Apple’s copyright wrath) sinister messages to her phone.
After months talking on an app, Violet and Henry meet for a date on the 38th floor of a Chicago high-rise, where almost all the film takes place.Bernard Walsh/Universal/Supplied
What starts off as unnerving and unwanted memes quickly escalate to malicious orders for Violet to kill Henry – or else her adorable son will be next. So, yet another reason to switch your phone to airplane mode.
While the screenplay by Jillian Jacobs and Chris Roach is tainted by some truly atrocious dialogue and a big twist that isn’t much of a twist at all, director Christopher Landon injects the entire affair with so much stylistic verve and narrative propulsion that, like the best kind of first date, it whips by almost too quickly. Landon also creates what might be one of the best contemporary “texting” movies since Jaume Collet-Serra’s 2014 thriller Non-Stop – the many messages sent to Violet’s phone are visualized in a way that complement the spatial composition of each frame, rather than messily crowd them.
And like Landon’s best films – the two Happy Death Day movies and the body-swapping horror-comedy Freaky – the director has again partnered with a leading lady who will eagerly push past every limit placed in front of her. As the never-shrinking Violet, who must oscillate between playful seductress, fearful mother and digital detective from moment to moment, Fahy is a force to be reckoned with. (This is perhaps no surprise for anyone who caught her turn as the tech-bro’s unhappy wife on the second season of The White Lotus.)
Bonus: Drop doubles as the perfect public service announcement for contemporary movie-theatre etiquette. Tommy Texter, buddy, your days are numbered.