"Drop" is the type of film that distinguishes genuine cinema enthusiasts from those who watch movies conditionally. The film is manipulative, inherently absurd, blatant, exaggerated, and appeals directly to one’s instincts while being impossible to resist. In doing so, it captures the authentic essence of filmmaking.
Film is considered a crude form of expression. Although it has the potential to achieve noble artistic goals, fundamentally, it relies on transforming viewers from a composed group into a single responsive entity by exploiting primal emotions such as desire or fear.
"Drop" exudes a sense of generosity as it lacks pretense and harbors no ambitions beyond triggering reactions from viewers, compelling them to gasp, shift uncomfortably, and speculate about upcoming twists.
Everything begins innocently enough, with a charming widow named Violet (Meghann Fahy) preparing for her first date since losing her spouse. The details of her husband's passing remain unclear, but a brief opening scene hints at a truly ghastly event.
Initially, everything appears to be going smoothly. She has a date with Brandon Sklenar, an actor whose work is familiar to us from "صند It Ends With Us That Sklenar is precisely the person someone should date after going through a traumatic event. However, as soon as they sit down together, her phone begins receiving constant AirDrop-like notifications. When she eventually gives in and opens one of these messages, she finds herself descending into a nightmarish situation.
Screenwriters Jillian Jacobs and Chris Roach succinctly outline the scenario: A masked intruder has invaded her home with threats to kill both her son and her sister, who is acting as the babysitter, unless Violet completes several assignments. The intruder will also carry out these killings if she informs others about the situation. This forces her to keep her date oblivious to everything happening.
Violet’s reluctance to disclose the cause of her anguish accomplishes two beneficial outcomes that appear contradictory but surprisingly complement each other: it amplifies the dramatic tension, while simultaneously introducing a touch of dry comedic effect.
From a theatrical perspective, the realization that Violet cannot speak heightens our perception of her confinement. She finds herself trapped in an unyielding situation from which she seems unable to break free, leaving us struggling to envision a joyful resolution for her.
However, if you take a step back and consider the perspective of her date watching this unfold, "Drop" turns out to be amusing. At first, he begins the evening with hopes that she will enjoy his company, yet after about thirty minutes, he finds himself questioning whether she might require psychological help. She appears tense and easily startled, frequently checks her phone, and repeatedly heads for the restroom. Additionally, she expresses a desire to move tables before promptly changing her decision.
To some extent, it's a traditional farcical scenario where two individuals engage in dialogue rooted entirely in a misinterpretation of the actual circumstances.
It would be inaccurate to claim that 'Drop' is accidentally humorous, yet the comedy isn't deliberately crafted either. The film can best be described as bold, with director Christopher Landon allowing viewers to interpret their own reactions.
To illustrate audacity, think about this scenario: A restaurant sits atop a skyscraper in downtown Chicago, featuring wall-to-wall glass panes that offer stunning views. In a shocking turn of events, somebody punctures one of these windows, causing people inside to be pulled out due to the pressure difference. Seriously? Would Chicago eateries really have such pressurization?
This scene is rather ridiculous, yet at this stage of the narrative, we find ourselves caring about which characters might be pulled through that window. "Drop" is an engaging film that successfully achieves dual objectives.
Mick LaSalle serves as the retired film critic for The Chronicle. You can contact him at askmicklasalle@gmail.com.