by Josh Sewell
Drop
(Rated PG-13 for strong violent content, suicide, some strong language and sexual references. Opens in theaters on April 11.)
I’m typically not a big horror fan, but I’ve learned to make exceptions when it comes to Christopher Landon. The writer-director (and son of Hollywood legend Michael Landon) has carved out – pun slightly intended – an interesting niche for himself. In a genre that has a sordid history of misogyny, racism and homophobia, Landon has made several films that put a modern, intelligent spin on familiar and often outdated tropes.
Aside from being a chief engineer of the Paranormal Activity mythology, he’s also been a part of terrific horror flicks like Happy Death Day, Freaky and Heart Eyes (which just hit theaters in February). Now he’s branching out a bit with Drop, eschewing horror to make a full-blown thriller that Hitchcock might have admired.
The story (written by Jillian Jacobs and Chris Roach) centers on Violet (Meghann Fahy), a single mother going out on her first date in years. When she arrives at the ultra-fancy restaurant, she strikes up pleasant conversations with the bartender (Gabrielle Ryan) and a nerdy guy (Reed Diamond) waiting for a blind date. They help calm her nerves until her companion – a photographer named Henry (Brandon Sklenar) – arrives.
The night starts off promising since Henry turns out to be charming, handsome and a great listener. However, Violet’s hopes for a romantic evening are dashed when she receives a series of anonymous airdrops on her phone that go from annoying to horrific. Her mystery texter demands that she follow instructions, or a masked figure will kill her young son (Jacob Robinson) and her sister (Violett Beane) who’s babysitting. She does what she’s told until the final directive arrives – poison Henry’s drink.
Drop is the epitome of a fun night at the movies. The characters are likeable, even if they have an air of mystery about them, and the premise guarantees ratcheting tension until the final moments. The central crisis – poison your date or your family dies – is compelling enough to drown out the logical inconsistencies (which I’ll get to in a moment).
It helps that Jacobs and Roach make every character memorable, especially those who would be extras in a different movie. The screenwriters and Landon give each of them traits that draw viewers to them despite their flaws and erratic behavior. Although the premise stretches credulity at times, the actors (especially Fahy and Sklenar) sell the story well enough to distract viewers until the end credits. It was not until driving home that I started pulling at narrative threads.
Thrillers can rarely stand up to intense scrutiny after the fact, and Drop is no exception. I had qualms when it was over, but the fact that it kept me riveted throughout reflects the quality of the screenplay and the actors tasked with executing it. I recommend seeing this one on the big screen in a crowded theater.
Grade: B
The Luckiest Man in America
(Rated R for language. Now playing in theaters.)
I love character actors – those recognizable faces who pop up in movies, even if viewers do not know them by name. Some of the best in that category include Paul Walter Hauser, David Strathairn and Walton Goggins (who’s rapidly moving from “that guy” status to A-lister thanks to his recent work in The Righteous Gemstones and The White Lotus). Imagine my surprise to see all of them pop up in The Luckiest Man in America, a fact-based film that chronicles the nostalgic feel of the 1980s.
The flick takes place in May 1984, when Michael Larson (Hauser), an eccentric ice cream truck driver from Ohio, charms his way onto the game show Press Your Luck and quickly dominates. His secret? He’s figured out how the board works. As he wins thousands of dollars per spin, host Peter Tomarken (Goggins) and bewildered executives in the control room (including Strathairn and Shamier Anderson) frantically try to figure out who this guy is before he bankrupts the show.
Although The Luckiest Man in America runs out of gas by the listless third act, the phenomenal work from the terrific actors elevates the story past its typical breaking point. I’m shocked that an indie movie like this got such a wide release, but it’s crucial to take advantage of the situation. For those who complain that Hollywood doesn’t make movies for adults anymore, I strongly recommend seeing this one on the big screen.
Even if the story is straightforward, it’s worth the price of admission to see actors like Hauser, Goggins, Strathairn and Anderson elevate the basic premise. Plus, the production design from Lulú Salgado transports viewers back to the ’80s in all the best ways. Considering the modern world is on fire, why wouldn’t audience members want to travel back to a less catastrophic time?
Grade: B-
(Rated PG-13 for strong violent content, suicide, some strong language and sexual references. Opens in theaters on April 11.)
I’m typically not a big horror fan, but I’ve learned to make exceptions when it comes to Christopher Landon. The writer-director (and son of Hollywood legend Michael Landon) has carved out – pun slightly intended – an interesting niche for himself. In a genre that has a sordid history of misogyny, racism and homophobia, Landon has made several films that put a modern, intelligent spin on familiar and often outdated tropes.
Aside from being a chief engineer of the Paranormal Activity mythology, he’s also been a part of terrific horror flicks like Happy Death Day, Freaky and Heart Eyes (which just hit theaters in February). Now he’s branching out a bit with Drop, eschewing horror to make a full-blown thriller that Hitchcock might have admired.
The story (written by Jillian Jacobs and Chris Roach) centers on Violet (Meghann Fahy), a single mother going out on her first date in years. When she arrives at the ultra-fancy restaurant, she strikes up pleasant conversations with the bartender (Gabrielle Ryan) and a nerdy guy (Reed Diamond) waiting for a blind date. They help calm her nerves until her companion – a photographer named Henry (Brandon Sklenar) – arrives.
The night starts off promising since Henry turns out to be charming, handsome and a great listener. However, Violet’s hopes for a romantic evening are dashed when she receives a series of anonymous airdrops on her phone that go from annoying to horrific. Her mystery texter demands that she follow instructions, or a masked figure will kill her young son (Jacob Robinson) and her sister (Violett Beane) who’s babysitting. She does what she’s told until the final directive arrives – poison Henry’s drink.
Drop is the epitome of a fun night at the movies. The characters are likeable, even if they have an air of mystery about them, and the premise guarantees ratcheting tension until the final moments. The central crisis – poison your date or your family dies – is compelling enough to drown out the logical inconsistencies (which I’ll get to in a moment).
It helps that Jacobs and Roach make every character memorable, especially those who would be extras in a different movie. The screenwriters and Landon give each of them traits that draw viewers to them despite their flaws and erratic behavior. Although the premise stretches credulity at times, the actors (especially Fahy and Sklenar) sell the story well enough to distract viewers until the end credits. It was not until driving home that I started pulling at narrative threads.
Thrillers can rarely stand up to intense scrutiny after the fact, and Drop is no exception. I had qualms when it was over, but the fact that it kept me riveted throughout reflects the quality of the screenplay and the actors tasked with executing it. I recommend seeing this one on the big screen in a crowded theater.
Grade: B
(Rated R for language. Now playing in theaters.)
I love character actors – those recognizable faces who pop up in movies, even if viewers do not know them by name. Some of the best in that category include Paul Walter Hauser, David Strathairn and Walton Goggins (who’s rapidly moving from “that guy” status to A-lister thanks to his recent work in The Righteous Gemstones and The White Lotus). Imagine my surprise to see all of them pop up in The Luckiest Man in America, a fact-based film that chronicles the nostalgic feel of the 1980s.
The flick takes place in May 1984, when Michael Larson (Hauser), an eccentric ice cream truck driver from Ohio, charms his way onto the game show Press Your Luck and quickly dominates. His secret? He’s figured out how the board works. As he wins thousands of dollars per spin, host Peter Tomarken (Goggins) and bewildered executives in the control room (including Strathairn and Shamier Anderson) frantically try to figure out who this guy is before he bankrupts the show.
Although The Luckiest Man in America runs out of gas by the listless third act, the phenomenal work from the terrific actors elevates the story past its typical breaking point. I’m shocked that an indie movie like this got such a wide release, but it’s crucial to take advantage of the situation. For those who complain that Hollywood doesn’t make movies for adults anymore, I strongly recommend seeing this one on the big screen.
Even if the story is straightforward, it’s worth the price of admission to see actors like Hauser, Goggins, Strathairn and Anderson elevate the basic premise. Plus, the production design from Lulú Salgado transports viewers back to the ’80s in all the best ways. Considering the modern world is on fire, why wouldn’t audience members want to travel back to a less catastrophic time?
Grade: B-
Reach out to Josh Sewell at joshsewell81@gmail.com or on BlueSky @joshsewell.bsky.social
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