Studio: Blumhouse/Universal
Director: Christopher Landon
Writer: Jillian Jacobs, Chris Roach
Producer: Michael Bay, Brad Fuller, Cameron Fuller, Jason Blum
Stars: Meghann Fahy, Brandon Sklenar, Reed Diamond, Violett Beane, Jeffery Self, Jacob Robinson, Gabrielle Ryan, Ed Weeks, Travis Nelson
Review Score:
Summary:
Trapped in a restaurant on a first date, a single mother is manipulated through her phone by a mystery man threatening to kill her son.
Review:
Impossibly preposterous situations like the one that single mother Violet finds herself in during “Drop” only ever occur in popcorn thrillers, never in real life. Yet when those movies are made with smart scripts and sharp craftwork, willful suspension of utter disbelief permits all sorts of fictional ridiculousness for the benefit of escapist entertainment.
Haunted by the memory of her abusive ex-husband threatening her at gunpoint, Violet faces a less dramatic fright with the prospect of her first date in forever. Leaving her five-year-old son Toby at home with her sister Jen, Violet sets out for Chicago’s poshest rooftop restaurant and settles in for an evening certain to be unforgettable, though not for any reason she could possibly anticipate.
Seated at a table with Henry, a photographer who’s more handsome in person than in his online profile, Violet’s phone begins receiving strange memes that quickly escalate into shocking threats. Told to remotely check her home security system, Violet sees a masked intruder inside her house. The instructions that follow couldn’t be clearer. The unknown person sending these texts has a surprising task for Violet to complete, and if at any point she tries to leave the restaurant, contact the police, or tell anyone, especially Henry, what is really going on, then her precious little boy dies.
Who might the mystery man be that’s directing Violet into danger? Could it be Richard, an awkward older gentleman who’s also at the restaurant on a different first date? Maybe it’s Phil, the bar’s drunken pianist who’s had one too many martinis? What about seemingly sympathetic bartender Cara, or the couple’s animated server Matt, an aspiring improv comic currently playing a hat on the head of Allison Janney? There’s also Connor, a young man Violet repeatedly bumps into. And what about Henry? Could Violet’s date somehow be the devious manipulator now pulling her strings?
The poster tagline says, “Everyone’s a suspect,” but that’s simply not even close to true. Blumhouse’s budget-conscious habit of hiring attractive actors who aren’t breakout stars means the primary suspect can only be the one person in the cast most people have previously heard of. Younger viewers luckily won’t have the same issue since they’re less likely to recognize his face, but those of us who’ve been watching this actor for decades will see his name in opening credits or appear in his first scene and immediately realize, “Oh, well that’s definitely the guy.”
I’ve called it “The Tony Danza Principle” in the past, though I probably need to update that term with a less-dated celebrity. It’s basically when, for example, a police procedural stunt casts a special guest star for that week’s episode, then mixes them in with a bunch of nobodies like it’s a surprise which one of those actors will turn out to be playing the juicy role of the mystery villain. Will it be Pedro Pascal or one of the interchangeable extras? Gee, I wonder.
You also know from the outset that the mastermind isn’t going to be Violet’s date Henry. Violet’s recovery arc requires her to earn a deserved W in romance for once, making it all the more odd that the movie puts Henry in the shallow pond of red herrings to begin with. There’s a mix-up moment where the restaurant’s hostess claims Henry specifically requested a certain table when he made his reservation, something Henry denies doing. It’s such a limp attempt at a distraction because I’m not sure if “Drop” means to hint at some unknown operator in play or if we’re supposed to see Henry as suspicious merely because maybe he wanted to sit near the window.
Although the blinding lights surrounding the bad guy’s true identity wash all suspense out of the hamstrung mystery, director Christopher Landon seems to sense the script’s empty surprises are unsatisfying, so he turns it over to the performers to carry momentum instead of leaving it up to the plot. That’s a risky move for a wannabe nailbiter where Hitchcockian hooks usually fuel intensity, but it’s the wise turn to take since the two main personalities are pleasing to watch suffer through the bizarre conditions of their date and to see survive the persistent pressures that follow.
Meghann Fahy’s role as Violet would have been an easy fumble in less assured hands. She has to continually, and conspicuously, interrupt dinner with off-the-cuff excuses to run to the ladies’ room, return to the bar, and create commotion, yet there’s an air of poise to Fahy’s presence that makes Violet’s behavior believable, all while you can still see her cracking composure ready to burst at any moment. Brandon Sklenar matches Fahy’s easygoing ability to be endearing, making Henry a compassionate good guy worth cheering on, both to make things work with Violet as well as to foil the perpetrator’s plan.
Christopher Landon has too much experience with crowd-pleasing formulas to direct anything less than an enjoyable effort, even though “Drop’s” totally telegraphed reveal kills any chance of being a gripping whodunit for armchair detectives to solve along with Violet. Fortunately for the film, “Drop” picks up some of that slack with appealing performances, highly energetic pacing, and a no-nonsense presentation. “Drop” delivers another needlessly elaborate evil plot whose ultimate goal could more realistically be achieved with far less complicated planning, but the counterargument contends that’s just par for the course when playing on this well-worn grass of a trope-laden thriller whose main intention is to manufacture a guilty pleasure getaway for 90 quick minutes.
Review Score: 60
The tagline says, “Everyone’s a suspect,” but that’s not true. The primary suspect can only be the one actor most people have previously heard of.