AirDrop of Terror

by

Director Christopher Landon has gained recognition over the past few years with his unique approaches to traditional slasher narratives, such as the time-looping adventures of the popular “Happy Death Day” series and the amusing body-swapping tale of “Freaky”. However, his newest creation, titled “Drop“, represents a distinct departure from his usual genre-blending style. Instead of the usual “mash-up” approach, this 2025 film could be a prime example of what’s meant by a “high-concept thriller”.

Drop

Upcoming Project: I’ll be part of a movie, set to debut on April 11, 2025. This film is directed by Christopher Landon, and the script was crafted by Jillian Jacobs & Christopher Roach. The star-studded cast includes Meghann Fahy, Brandon Sklenar, Violett Beane, Reed Diamond, Jacob Robinson, and Jeffery Self.

The movie carries a PG-13 rating due to its strong violent content, suicide themes, some strong language, and sexual references. It runs for approximately 100 minutes.

The story isn’t overly complex or contemporary, but it doesn’t need to be. Instead, it delivers on its promise as a polished Hitchcock-style thriller. It thrives within the confines of that genre. It clearly defines the challenges, creates relatable characters, and develops them effectively, resulting in an enjoyable and captivating experience for 100 minutes.

Meghann Fahy plays Violet, a former victim of domestic abuse who is a single mother and has spent years in seclusion. Feeling brave, she decides to venture outside her comfort zone for a change and go on a date. She meets Henry (Brandon Sklenar), a photographer she’s been exchanging messages with for months, at a restaurant overlooking the Chicago skyline, but their initial interactions are clumsy because of Violet’s rusty dating abilities. However, things take an unexpected turn and become even more challenging.

The main character initially dismisses humorous yet pressing AirDrop notifications on her phone, but soon realizes they’re no joke when she learns there’s a masked man in her home with her son, Jacob Robinson, and her sister Jen (Violett Beane), who is babysitting. She understands that this isn’t just a prank when she’s informed that the safety of her family hinges on following specific orders. As events unfold, she uncovers that the ultimate objective behind these demands is to carry out a murder – specifically, that of her date.

Drop has a clever mystery that never gets too big as to disappoint.

As a cinephile, I wouldn’t call “Drop” the most mind-boggling mystery of the year because I suspect around 33-40% of viewers may guess the main secret before it’s unveiled. However, the movie skillfully avoids this predicament by crafting a well-structured and logical narrative that keeps the story flowing seamlessly. There are certain cinematic clues that I won’t discuss here, but they don’t detract from Violet’s actions in any way.

The screenplay penned by Jillian Jacobs and Christopher Roach exhibits a shrewd approach in weaving exposition and obstacles that deepen the mystery and offer challenging predicaments for the main character to navigate, without resorting to clichés such as giving the antagonist omnipresent surveillance capabilities through a super hacker. Violet demonstrates remarkable intelligence under pressure, concocting practical and astute strategies to seek assistance, while operating covertly to identify who in close proximity is leaving clues – this proves frustratingly disappointing when things don’t pan out as anticipated.

Violet’s unusual actions might initially seem unsuitable for a first date, as she wants Henry to remain oblivious to her actions. However, these quirks are ultimately handled tactfully.

Meghann Fahy is truly the lynchpin of Drop.

The movie centers around a protagonist with whom the audience must deeply empathize, and this is skillfully achieved through the character’s emotional past and a captivating performance by Meghann Fahy. This role demands a delicate blend of fear and courage, and Fahy, renowned for her work in “White Lotus,” proves more than capable.

From the very beginning, she exudes an authentic sense of apprehension as she grapples with leaving her young son at home for the first time. This concern becomes a driving force, raising the stakes as you wonder what lengths she might go to ensure his safety. Fahy also conveys a resilience born from her character’s past experiences with an abusive partner and a determination to never be subjugated again.

In a simpler, more conversational manner: Henry plays a less forceful character, but Brandon Sklenar infuses him with an authentic nice-guy vibe that significantly contributes to the plot. Just like a movie where a family hesitates to leave a house they suspect is haunted, the possible flaw in the movie Drop could have been Henry immediately expressing his concerns about Violet’s strange behavior. However, Sklenar’s portrayal of gentle charm makes it believable that Henry stays calm and stays at the table, reflecting a realistic response based on Henry’s character.

Among the talented cast members, it’s worth highlighting Jeffery Self. He portrays an overly eager waiter who is excited to serve a couple on their first date in his debut at the restaurant. Throughout the film, Self assumes the role of the main comic relief, carrying the burden with finesse and stealing scenes. His performance exudes a charming “that guy” vibe and offers viewers a fun perspective as an outsider watching Violet and Henry’s relationship unfold.

For being set in a limited space, Drop delivers splashes of thrilling style.

In the case of “Drop,” director Christopher Landon bypasses time loops and body swaps for a more straightforward approach, focusing instead on a compact setting. Despite its simplicity, he effectively employs this limitation to give the film an distinct visual style. The cinematography cleverly conveys a sense of geographical awareness within the restricted environment that traps both hero and villain, with the camera’s continuous movement and strategic use of tight angles creating an atmosphere of tension, suspicion, and claustrophobia. While the ominous text on screen is not entirely overcome, it’s masked by a strong performance from the lead actor.

In essence, this isn’t a movie that demands constant rewatching or intense analysis (you might realize that AirDrop works better for catchy title-making than as a story element), but rather it’s designed for an enjoyable evening at the cinema on a Friday night. It doesn’t attempt too much and succeeds accordingly, though it never quite fills you up completely.

Read More

2025-04-11 01:39