Drop

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In my perspective, I can’t help but be captivated by director Christopher Landon’s latest masterpiece, titled “Drop“. As a viewer, I found myself drawn into this unique take on the horror genre, where Meghann Fahy and Brandon Sklenar brilliantly portray their characters in this bizarre yet delightful thriller. The film takes the dreadful reality of dating as a woman and transforms it into a life-or-death struggle, keeping me on the edge of my seat throughout the entire experience.

After the passing of her abusive spouse, Violet (Fahy) has thrived as a therapist specializing in helping survivors of domestic violence. With a harrowing past and the challenges of rearing an extraordinarily cute child, Violet hasn’t been on a date for ages. Following several months of messaging with a kind photographer named Henry (Sklenar), Violet consents to their initial encounter at an upscale eatery perched atop a colossal skyscraper, boasting breathtaking panoramas.

In just a few short moments after their arrival, the couple finds themselves in a precarious situation: Henry is delayed, Violet is anxious about her child, and their server (Jeffrey Self) embodies every negative stereotype of a waiter. To make matters worse, Violet begins to receive ominous AirDrops or “DigiDrops” from an unidentified sender containing menacing memes. It soon becomes clear that this stalker not only has the ability to monitor and listen to everything Violet does, but he’s also dispatched a masked gunman to hold her son and sister hostage until she eliminates her date, Henry. The twist is that Violet cannot inform Henry or anyone else of the danger, as doing so would put her family in jeopardy.

Pushing a “Strong Female Lead” Film to the Max

The show “Drop” triumphs by fully embracing its outlandish premise and following it to its conclusion, much like some popular ’90s thrillers in the “Strong Female Lead” category: “Double Jeopardy,” “The Hand That Rocks the Cradle,” “Sliver,” and others. Landon largely achieves a successful reinvention of the traditional domestic thriller for today, making every theme and plot twist both more extreme and more straightforward.

The film Drop can be likened to the humorous stick figure meme depicting exaggerated violence, where a caption typically reads something like “Girls with ADHD when the deadline hits.” In this case, the caption could read “Girls when dating is a matter of life and death.” This comparison seems fitting as both the meme and the film feature intense situations that require navigating through danger or difficulty without being discovered.

Too Many Women Can Relate to ‘Drop’

Although Drop may seem absurd at times, it’s given credibility by Fahy’s skillful portrayal of an encounter that many women unfortunately endure all too frequently. Whether you find yourself trapped in an Uber with a man who won’t stop being aggressive or discover that the person you’re dating is a misogynist, the underlying survival instinct remains similar. We are often compelled to navigate potentially hazardous situations tactfully – not for the comfort of our potential attacker, but to shield ourselves and perhaps our loved ones from harm. We must think on our feet, making strategic decisions about when and how to appease the aggressor to prevent escalating the situation further.

As a dedicated cinema enthusiast, I often find myself navigating the intricate dance between volatile male characters (and let’s not forget the unspoken expectations placed upon us by societal norms when dealing with everyday men). It’s a delicate ballet of knowing when to remain composed, when to assert oneself, and when to flee, all while being acutely aware of potential dangers lurking even in the most ordinary circumstances. More often than not, that jogger on the trail is just exercising, but it’s those rare instances that can be life-changing. By the climax of Drop, Violet’s journey encapsulates the unique challenges faced by many women when going out with men, but also encompasses the broader experiences of interacting with numerous males in general.

From my viewpoint as a movie reviewer, Henry seems baffled by Violet’s peculiar and unpredictable actions throughout the film. She’s evasive in a strange way, often engrossed in her phone, and there’s an air of secrecy about her that leaves Henry guessing. Her emotions and wishes seem to shift without any apparent reason. However, Henry is portrayed as a sympathetic character because he doesn’t react with hostility, which a less virtuous protagonist might do. Instead, he exhibits patience and understanding, even when it seems unfair, and he consistently prioritizes Violet’s feelings. Yet, this is where the movie Drop faces some challenges, as the audience may find themselves questioning Violet’s character development or motivations.

‘Drop’ Is the Right Movie at the Wrong Time

In the modern context, it’s challenging to disassociate a film like “Drop” from the social and political environment we find ourselves in today, particularly since it delves into familiar societal issues mirroring our own world. The opening scene of “Drop” presents Violet, her face etched with fear, bruises, blood, and tears, pleading for mercy from her abusive husband. This intense scene is revisited throughout the movie, serving as a narrative device for exposition and ultimately symbolizing a moment of triumphant empowerment for Violet. However, considering the growing atmosphere of patriarchy and oppression in America towards individuals who are not straight, white, or male, these scenes can be difficult to endure.

A significant portion of Violet’s character and the movie’s storyline heavily revolves around her history of abuse and subsequent re-victimization, which seemed to be used for dramatic effect. This reminded me of M. Night Shyamalan’s film, Split, where Anya Taylor-Joy plays a character whose past traumas, particularly involving violence, play a crucial role in her survival, even affecting her ability to manage the volatile emotions of a man (or multiple personalities, as depicted).

Although the villain in that movie is a male serial killer of women, it doesn’t seem as deeply entrenched in gender stereotypes as the film Drop. However, it’s important to note that Landon’s movie isn’t intentionally harmful; it might just have been released at an awkward point in history. The main character is a woman who has survived domestic abuse and must confront her past pain to address what she perceives as her shortcomings as a mother, throughout a night centered around an attractive man who’s portrayed as one of the “good guys.” Every aspect of this character’s storyline and decisions are directly linked to her femininity.

The film “Drop” isn’t inherently wrong, but it holds two truths: While it offers a refreshing take on classic thrillers seldom seen in Hollywood these days, its portrayal of the heroine can be questionable at times. Nevertheless, “Drop” is one of the most consistently engaging genre films this year, which is quite an achievement.

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2025-03-12 02:04