While on a first date with Henry (Brendon Sklenar), widowed mother Violet (Meghann Fahy) finds herself terrorized by an unknown person using an AirDrop stand-in called “digiDROP” to send threatening images and messages. Over the course of the date, she must attempt to determine her digital tormenter’s identity while following his sinister requests in order to save her son and sister, whose lives are threatened by the tormentor.
This is the premise of Christopher Landon’s new film “Drop,” which DUU’s Freewater Presentations screened Thursday, March 27, ahead of the film’s theatrical release on April 11.
The film begins with ominous horror movie music music, provoking immediate fear. The opening credits are even more threatening, featuring sequentially broken or, more aptly, dropped items: clocks, bottles, glasses and dominos. The visuals and sound set the tone for the film, ensuring that every audience member knows they are going into a movie that is trying to frighten them.
Yet neither the opening audio nor visuals connect strongly to the story. The music is excessively haunting, in a way the film never achieves, and at no point are objects dropped or shattered. The title credits are also misleading for no discernable reason, as the dropping in the film consists of sending of images or messages from one device to another.
Evidently, one idea the film briefly flirts with is the dangers of technology. The audience is able, but not forced, to question how Violet’s own use of technology has gotten her into this situation and how technology is unsuccessful in saving her. However, the film offers no resolution, takeaway or thought-provoking question to further discussion of technology. The idea never goes much farther than being used as a plot device, although it is essential and successful at that purpose.
“Drop” not-so-subtly hints at its interests in psychology from the very beginning: Violet is a therapist, and her sister Jen is seen reading a psychology magazine. There is also clearly an interest in surveillance, with Violet having multiple cameras, which she collectively calls “big sister,” scattered throughout her house. Unfortunately, the surveillance and psychology themes fall flat, seemingly forgotten once the action begins, and altogether gone by the end of the film. “Drop” allows the audience to leave without having been introduced to any new or thought-provoking ideas on either topic.
Restaurant server Matt (Jeffery Self), is introduced in shots with incredibly uncomfortable low- angles. The shots make Matt intimidating, but even more, they make the audience feel awkward, emphasizing the character’s gaucheness. Throughout the film, Violet is shown in very high-angle shots or in zoomed out shots, isolating her and highlighting her insignificance. While the shots are largely successful, they are somewhat too obvious in their intentions, drawing the audience out of the otherwise immersive world. Overall, “Drop” could have benefitted from some more subtlety and nuance.
The film tries to be modern and relevant, with Violet describing the 2016 song “Baby Shark” (which went viral in 2018) as a “banger,” and receiving memes like “Distracted Boyfriend,” which became popular in 2017. These obvious internet references are incredibly outdated and seemingly irrelevant in the context of the plot, making this brand-new movie feel quite dated.
But by incorporating modern technology, such as AirDrop, home surveillance cameras and online dating, the story still manages to ground itself in modern-day realities. Although some unconvincing plot points, particularly those surrounding the digital tormentor’s identity, hinder the audience’s emotional investment in the film, they do not diminish the film’s entertainment value. At a concise 100 minutes, “Drop” draws in the audience and manages to keep their focus through the somewhat-underwhelming ending.
While not likely to cause any existential crises or major reconsiderations of the meaning of life, the film is still entertaining throughout. It seems to be in an uncertain limbo-state, dealing with serious topics ranging from abusive relationships to suicide while simultaneously asking the viewer to accept scenarios that seem wholly improbable, if not impossible.
Had the film committed to going in either the thought-provoking or the amusement direction — or if the film had committed to doing both aspects stronger — it would have been better. As it stands, however, “Drop” is still an engaging movie built around a fascinating premise.
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Sonya Lasser is a Trinity first-year and a staff writer for Recess.