Drop - Tödliches Date

One trend I can totally get behind is the return of '90s-style, nonsensical action films - and 'Drop' is a perfect example of just how fun that can be. It's full of high-stakes chaos, tech-fuelled paranoia, and a plot that spirals in the best kind of way.

The social commentary lands surprisingly well, with the AirDrop-as-menace angle tapping into real digital-age fears. And I loved the video game-esque text placements on screen - bold, stylised, and just the right kind of over-the-top.

The acting? A bit cringe, yes - but intentionally so. Meghann Fahy really leans into the melodrama, and Brandon Sklenar does a great job playing the increasingly bewildered date. Special shoutout to Violett Beane, whose dry delivery added just the right bite.

But a bone to pick: that child actor... GOD AWFUL. It's even more glaring when you think about someone like Owen Cooper in 'Adolescence' - proof that you can cast a young actor who brings genuine weight to the screen. This kid just wasn't it. Still, if you're after a chaotic, neon-tinged thrill ride with something to say, 'Drop' is a blast.

The whole premise of the movie seemed a little convoluted and as the movie goes on it gets messier and more ridiculous.

I think there are too many holes in the plot and the movie is simply seems like a waste of time. It does not get better and only gets worse.

If the plot was better and more realistic than maybe it could be a good movie but the ridiculous and unbelievable plot is what really harms this movie.

On the positive the actors seem capable, the set design and cinematography was good but it's just hard to get over the ridiculous plot. There are too many gaps and I found I was waiting for the move to end. The ending is not worth the wait.

The trailer seemed to give too much away but the clever dialog made it refreshing to watch. Only complaint is that almost every man in the cast is brown haired with a beard so keeping track of many of the characters was confusing. Overall an enjoyable movie and very cleverly written. A great use of tying in what was being delivered via text messages with the images on the screen. So glad to be out of the dating scene now that I'm reminded of what first dates are like. You do feel for all the characters And the view from the restaurant is pretty fantastic. A great small space view with a lot going on.

Another movie that starts off interesting/intriguing and it was keeping me engaged. The premise although maybe slightly far fetched wasnt stretching boundaries to the point of breaking my immersion so it was going ok....

The about half hour from the end after she finds out who has been tormenting her, the film just descends into absurdity. The final scenes are cliché after cliché, nonsense on top of nonsense. It seems writers really have trouble with endings, I would compare this movie with Trap, it started off with an interesting enough idea but then it's as if the writer couldn't decide how to end it so just went with a mish mash of ridiculous events.

Come on Hollywood, just think about things a little more.

Although admittedly fairly forgettable, 'Drop (2025)' is a really solid thriller that benefits from a lack of self-awareness and a stylistic execution. Set mostly in a single location, the narrative mixes the anxiety of a first date with the horror of a hostage situation (the former can often feel like the latter, am I right?). Having the lead character be a survivor of domestic abuse adds another layer of cruelty to the lack of control she has over her situation, while also allowing for catharsis if she's able to work through her trauma and emerge victorious. The theme is dealt with gently but directly, never feeling exploitative because it ultimately seems like an attempt at healing rather than a cheap way to increase the suspense of the central situation. Said situation is undeniably silly, but the film treats it with enough sincerity that you don't feel strange about doing the same. It has comedic moments, some of which are genuinely funny, but its humour never undercuts its narrative. It never feels embarrassed of itself, never feels the need to crack wise to let us know it knows it's actually rather absurd. It remains tense and engaging for its relatively brisk duration, even if it does feel like it spins its wheels a bit in its midsection. Christopher Landon directs the heck out of it, playing with focus and lighting to convey stress and hopelessness, using controlled but chaotic camerawork to compound violence, and splashing text across the screen to make its virtual elements feel as real as everything else that threatens to tear its protagonist's world apart. Add to that a delightfully classic yet pulpy score from Bear McCreary, and you get an atmospheric and absorbing little thriller that keeps you hooked for its duration. Its characters are well-rounded, portrayed by charismatic actors who all understand the assignment, and its plot escalates in a satisfying way. It's tightly written, with a couple of crowd-pleasing one-liners and an escalating sense of suspense, and confidently crafted, with crisp cinematography and convincing set design. It isn't the sort of thing that sticks with you for too long, but it does exactly what it needs to and keeps you on the edge of your seat for its majority. It's an enjoyable experience that does quite a lot with quite a little. It's pretty darn good.