★★★★
A delicious premise finds maniac delivery in DropA new thriller tense Happy death day‘S Christopher Landon. As Jillian Jacobs and Chris Roach writes, the film has the kind of idea so mature for mining that it is perplexed to think that no one has done it before. An aerial thriller for the iPhone era. Drop was actually only designed when the girlfriend of her executive producer, Sam Lerner, began to receive doubtful Shrek The same nights in a crowded restaurant. It is not a huge leap in climbing dirt at the pipe, then to a criminal. In the hands of Landon, it is beautifully put on the scale.
Meghann Fahy, better known for his turn in the second series of The white lotusLeads like Violet, therapist in trauma and single mom in Young Toby, who is played by the Irish export of Tiktok Jacob Robinson. A macabre past, teased in an austere opening bite, informs the almost obsessive link between the mother and the son, but perhaps Violet is finally ready to move on. His sister, Jen (Violett Beane), certainly thinks. It is with his encouragement-and a free baby-sitting offer-that Violet accepts an appointment with the photographer WinSome Henry (he ends with us “Brandon Sklenar). They have been sending SMS for months and there is clearly something there. It helps, of course, that it is very beautiful and inverted.
He is also late. It was while waiting for Henry, withstanding a job, in a swish scraping bar, that Violet receives the first “drop”. This refers to the delivery of an image on the phone of Violet from a mystery source less than fifty feet, alias the radius of their restaurant. Which starts in the kingdoms of harmless irritability – similar to an off -color shrek – is accelerating soon, offering the film an easy / nauseous speed. Any sign of signaling to the rhythm of Landon is quickly compensated by the arrival of each new threatening message. In the end, Violet is forced to assassinate Henry or to look at his son and sister being killed.
With a large part of the film which takes place in the singular framework of the Purple date, Landon remembers something of the Hitchcockian pulse. Certainly, Drop recall Rope Or Rear window in the form and tension of claustrophobic. This one was knowingly referenced in the art deco posters of the film. While the simplicity of DropThe device of the device maintains stretched things, the superfluous of the whole Landon projects a large guilt, hindering the basic thrill with a captivating whodunnit mystery. Fahy is great here, both as a Landon Screh detector and mute, by probing all around her, just like a pressureive pressure to burst. There is an art to hide fear that proves too close to lived experience when abuse spectra appear. At a glance, Fahy says everything.
As adaptation of the Landon signature verve, DropHorror inclinations are diverted through an rye ear for fun. Humor dances through the film, finding the expression in a physical comedy that causes teeth and some one-liners killers: “My horoscope was right!” This high refusal to take the procedures that are too seriously done well to go around gravity, somewhat overcoming a wave of less convincing developments in the film -or perhaps more predictable -. This and a chic visual aesthetic that speaks of volume sophistication.
It is not so difficult to imagine the suites that will appear freely Drop. Landon turns out to be well through its contemporary technology toolbox to speed up paranoia in its sensations, but there is a mileage more in the ability of the modern iPhone to break the limits. These are disturbing times for data security. It is a boon for horror.
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