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Epoch Times
25-04-2025
- Entertainment
- Epoch Times
‘Drop': Hitchcock Meets Modern Technology With Iffy Results
PG-13 | 1h 40m | Drama, Suspense, Thriller, Mystery, Action | 2025 Although not likely the first, Alfred Hitchcock's 'Dial M For Murder' was memorable by including a landline telephone as an integral ingredient into the narrative of the movie's plot. This same device has continued for decades and had a major impact in the 'Scream' franchise. Then came the cell (or flip) phone in 'The Departed' (2006), becoming obsolete quicker than dial or touchtone phones. The flip phone led to the smartphone (actually compact computers), which began taking over in the 2010s. These phones have figured into more movie storylines that can be counted. One of the best of these was the 2023 ' In 'Drop,' a smartphone not only drives the narrative, it is the de facto lead character. No disrespect intended to Meghann Fahy (as Violet), but when Violet shares the screen with her phone, the latter gets all of the attention. Director Christopher Landon and Meghann Fahy on the set of "Drop." Universal Pictures In the Dust In all fairness to Fahy ('The White Lotus,' 'The Perfect Couple'), this is the intent of director Christopher Landon (son of the late Michael Landon) and screenwriters Jillian Jacobs and Chris Roach. Modern communications technology advances at a far quicker clip than most users' understanding of its capabilities. Since the advent of ChatGPT and the light speed of AI's development, technology is overtaking people's understanding of it, leaving them in the dust, wondering what hit them. Related Stories 1/23/2023 11/6/2023 Violet is a widow and the single mother of a preschool son; she's been reluctant to jump into the online singles dating pool. At the urging of her sister Jen (Violett Beane), Violet finally relents and connects with photographer Henry (Brandon Sklenar). Handsome, relaxed, and in not too much of a hurry, Henry plays his cards right. He's not pushy and allows Violet enough time to agree to a first date. Despite all of this, Violet is still apprehensive and Jen must gently cajole her into actually going on that date. Time to Relax When the big night finally arrives, Violet initially wears a dated, unflattering dress that Jen compares to something worn by hospital candy stripers. Jen gets her to relax a bit and change into something far more up-to-date and alluring without being suggestive or trampy. Violet arrives at the date far ahead of schedule at a swanky restaurant atop a swanky Chicago skyscraper. She exchanges small talk with a bartender, a lounge pianist, and another couple on their own first date. Together, these strangers spiritually join Jen, who is babysitting, into getting Violet to let her guard down. Henry arrives, and he and Violet are seated. The chemistry between the pair is immediate and electric. Violet is finally at ease. Their 'getting-to-know-you' phase is less meaningless small talk and more listening and learning about each other. It's a great first face-to-face. Henry (Brandon Sklenar) and Violet (Meghann Fahy) on their first date, in "Drop." Universal Pictures Then the Bottom Falls Out Within a few minutes, Violet's phone starts receiving multiple visual texts or, as the kids today refer to them, 'drops.' At first, these messages are merely annoying; soon they grow increasingly threatening and ominous. Whoever is sending the texts knows Violet's exact whereabouts by describing the surroundings and other people in the restaurant. They inform her that, if she doesn't murder someone in the restaurant, persons unknown will invade her home and kill her son and Jen. For reasons never fully explained (at least to my satisfaction), the sender of the texts is in the restaurant. This plot wrinkle works temporarily but has little staying power. There are only four viable villains (or five, if you count Henry, who is quickly ruled out as a suspect). Violet (Meghann Fahy) and Henry (Brandon Sklenar), in "Drop." Universal Pictures Still Some Suspense The third act begins with the sender identifying himself or herself in person to Violet which, for someone who loves thrillers, is far too soon. The mystery is revealed and thus solved. This was a big narrative misstep. However, the filmmakers keep the suspense high by reminding us (and Violet) that the caller still has the power to push a button which could result in the death of her son and sister. At this point the movie starts resembling 'Die Hard.' You know the villain, you know the motive (which has not been revealed here), and the possible fallout scenarios. The only thing left to chance is the final outcome. Despite these gaping holes in the plot, 'Drop' is surprisingly entertaining. It's not suspenseful or gripping, just entertaining in a popcorn movie sort of way. It's Hitchcock-lite, in other words, Brian DePalma or Martin Scorsese by way of Michael Bay (also a producer here) or Brett Ratner. It has its moments. Fahy is fantastic for the duration, but, in the end, it's just slightly better than okay. If you're looking for something more engaging with similar plot lines, check out the 2002 'Phone Booth' or ' 'Drop' Director: Christopher Landon Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Reed Diamond Running Time: 1 hour, 40 minutes MPAA Rating: PG-13 Release Date: April 11, 2024 Rating: 3 stars out of 5 What arts and culture topics would you like us to cover? Please email ideas or feedback to
Daily Mail
24-04-2025
- Entertainment
- Daily Mail
Female director makes woke demand to ban all plays by white male writers for a year as 'big idea' to shape the future of theatre in Britain
It's supposed to be a 'big idea' to shape the future of theatre in Britain. But it may not go down so well with most of those who keep the art form afloat by buying tickets to see plays of their choice. A director has proposed a year-long ban on staging the works of white male writers. Such a ban would include everyone from Marlowe and Shakespeare to Ibsen and Pinter. Katie Gilchrist, an American, is behind the controversial proposal which she will pitch at a theatre symposium next week. It is one of six final suggestions which will be put to a vote of top theatre executives on April 30 at the Soho Place theatre in the West End. Ms Gilchrist will be attending in person to put forward the measure, which is likely to be unpopular with many ordinary theatregoers and last night writer Patrick Kidd said: 'Well, it is an original idea, if a batty, sexist and divisive one. Art should offer opportunities without banning a group of writers. 'Perhaps she would also like to exclude white men from theatre audiences? I can't see executives going for this.' Ms Gilchrist, who has directed regional iterations of Mamma Mia!, Steel Magnolias and Dial M For Murder, told the Mail: 'This idea is an invitation for us to critically examine whose voices dominate our stages and what it could mean to shift that balance… even for the historical equivalent of an exhale.' The aim of the competition at The Future of Theatre conference, organised by The Stage newspaper, is to encourage 'big ideas to shape the future of theatre for the better' and with speakers 'striving to improve and innovate the theatre industry'. Others which have made the final six include actor and director Rob Myles, who will suggest the 'devolution' of the National Theatre while another American, Catherine Russell, the general manager of New York's Theater Center, will propose the verbatim translation of live theatre into more than 60 different languages using AI. Last year, former prime minister Rishi Sunak criticised West End theatres that hold 'Black Out' nights, arguing that the idea of black-only audiences for some nights of a theatrical production is 'wrong and divisive'.
