Drop

⭐️ ⭐️ ⭐️ 1/2 (out of 5 stars)

Alfred Hitchcock helped to define the modern-day suspense thriller. During his lifetime and since his passing, directors have done their best to imitate his style and make their own voice within the industry. Director Christopher Landon (Freaky) is the latest artist to take on the vision behind the master as he continues his journey in the world of horror. He takes what is familiar with the legendary style and adds technology's haunting impact on the dating scene.

Violet (Meghann Fahy) has not been on a date since her husband died. She has her hands full with her five-year-old son, Toby and a psychiatrist practice that helps women recovering from the horrors of domestic abuse. Yet, the widow finally decides that it is time to get back in the field when she determines that Henry (Brandon Sklenar) might be worth the risk of getting back out there. They are to meet at the prestigious Chicago restaurant, Palate, and all looks like it is going well until the young mother gets disturbing direct messages. Even though Violet attempts to ignore the messages, they become increasingly nefarious and eventually get her full attention when they threaten Toby if she doesn’t follow instructions to kill Henry before the night is out.

One of the challenges of trying to emulate Hitchcock is cutting that fine line between honouring the inspiration without cheapening the legendary director’s memory. As the story unfolds and things remain within the confines of the restaurant, the homage remains safely within the style it is meant to represent. The first two acts are far-fetched but stay in the realm of the believable. Unfortunately, the struggle to land this modern-day technological suspense thriller turns into a predictable and uninspired ending after an intricately woven narrative that is a lesson in the worst first date in history.

Meghann Fahy and Brandon Sklenar are beautiful together, and their chemistry is undeniable. Both do their best to embody two people merely looking for an authentic relationship. Still, why they stay on the date becomes questionable within minutes of the first DM. The villainous identity behind the messages helps build the tension and adds to the suspense until the perpetrator is exposed, then things go downhill. The lead actors' desire to put forward strong performances cannot salvage the unbelievable nature of this story’s arc and the contrived conclusion.

Drop is a fascinating combination of tastes from the cinematic menu, including a suspense thriller, a dash of romance, and a helping of murder mystery. As it tries to find its identity, this story adds a bitter, horrific garnish of domestic abuse to keep the realities of life on the table, which proves to be a shadow the master is attempting to emulate. Yet, there is something about this film, even during the most outlandish elements, that will have the audience wishing this pair would get together in the end. Come on, they put in the hard yards to earn some happiness.

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REEL DIALOGUE: Oh, that evil technology… is it really that bad?

For the love of money is the root of all kinds of evil. – 1 Timothy 6:10a

Like money, modern technology and social media are amoral elements in our society that can be used for good or evil. People can rail against the evils of these web-based items that have infiltrated our modern lives. Still, the root issue of evil is not with the tools but with the users.

The warnings do not need to be about these tools as much as how they are used. Society has to come to terms with the fact that no one is truly anonymous in the world. Every keystroke and swipe has consequences, and there is accountability for each action, either in this life or the next. Also, the evil seen on the internet comes from within the hearts of those using it. To deal with the problem, people need to turn their cameras on themselves and do some reflection. Fortunately, there is a solution.

Romans 12:21 - Do not be overcome by evil, but overcome evil with good.

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