Drop

It’s enjoyable stuff: a taut and crisply edited balance between humour and horror.

Drop may defy reason (and, somehow, physics), but thankfully, it still adheres to a basic tenet of cinema: If it’s not going to be smart, at least let it be fun.

Fahy doesn’t make a single misstep. Her performance is taut, progressing from first-date butterflies to life-and-death anxiety without so much as a second to catch her breath—let alone ours.

The absurd plot twists in “Drop,” might be tolerable if the film weren’t so distastefully tethered to domestic violence.

Flimsy, forgettable fun.

Clever in an Alfred Hitchcock-meets-ChatGPT kind of way. The plot is silly and the climax is at once too fast, too slow and too ludicrous.

Despite the 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, DePalma or Scorsese by way of Michael Bay or Brett Ratner.

The film confidently establishes itself, knowing exactly what it wants to be and fully committing to the premise for the first act. However, as the story progresses, the initial tension and suspense diminishes once the plot twist occurs.

Nevertheless, the whodunnit and why-do-it factors in play are so expertly and entertainingly exploited throughout that you just have to go with the frenzied flow of it all.

While Drop certainly finds fun in its increasingly ridiculous premise, that playful sense of humour is mostly lacking. Landon plays things straight – or as straight as one can given the film’s inherently implausible premise.