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Drop is a new mystery thriller directed by Christopher Landon, known for Happy Death Day and Freaky. The story follows Violet (Meghann Fahy), a recently widowed woman who is going on her first date since the loss of her husband with Henry (Brandon Sklenar). What should have been a pleasant evening quickly turns into a nerve-wracking adventure when Violet starts receiving threatening, anonymous messages. The sender demands that she take certain actions, or her loved ones will be put in danger. As she tries her best to comply with the demands, Violet works to uncover the identity of the sender and unravel the mystery.
The story has a strong, intriguing foundation. The tension is well built, and as a viewer, you quickly feel connected to Violet, who is forced to make decisions that place her in a moral dilemma. The setting, a chic restaurant full of suspicious figures, heightens the sense of unease. The mystery surrounding the anonymous messages keeps the viewer engaged as you try to figure out who the culprit is.
However, Drop struggles with balancing the mystery and relationship development. The film attempts to combine the romantic date elements with the tension of the thriller, but sometimes it feels like the two storylines don't blend well. The focus on Violet's personal dilemmas and the threatening messages causes her relationship with Henry to take a backseat. This results in an unbalanced tone, where the film feels like both a romantic thriller and a crime story, without fully succeeding in either genre.
Furthermore, the film includes several flashbacks that clarify the characters' pasts. Unfortunately, these moments sometimes feel unnecessary, like material from a different movie. They add little to the story and give the film an unnecessary, fragmented structure. It's clear that the writers, who previously worked on Fantasy Island and Truth or Dare, are not yet able to maintain tension in a truly immersive way. While the writing duo attempts to improve, some plot twists remain predictable, and the revelations feel rushed.
What does make the film strong, however, is its relevant theme about modern technology and how it affects our lives. Drop effectively plays on the way mobile phones and other technologies influence our interactions, giving the film a contemporary and realistic undertone. Violet's struggle with her personal issues is also powerfully portrayed by Meghann Fahy, who carries her character well. Her portrayal of a woman with a heavy past trying to pick up the pieces of her life makes her the emotional core of the film.
All in all, Drop is a film that doesn't fully live up to its potential. The tension and mystery are interesting, but the predictability of the plot and the failed balance between genres ultimately prevent the film from being completely convincing. Had the writing style been more refined and the storylines better intertwined, Drop could have made a much stronger impact. Still, the film offers an interesting look at the influence of technology on our lives, making it worth watching for genre enthusiasts.
The story has a strong, intriguing foundation. The tension is well built, and as a viewer, you quickly feel connected to Violet, who is forced to make decisions that place her in a moral dilemma. The setting, a chic restaurant full of suspicious figures, heightens the sense of unease. The mystery surrounding the anonymous messages keeps the viewer engaged as you try to figure out who the culprit is.
However, Drop struggles with balancing the mystery and relationship development. The film attempts to combine the romantic date elements with the tension of the thriller, but sometimes it feels like the two storylines don't blend well. The focus on Violet's personal dilemmas and the threatening messages causes her relationship with Henry to take a backseat. This results in an unbalanced tone, where the film feels like both a romantic thriller and a crime story, without fully succeeding in either genre.
Furthermore, the film includes several flashbacks that clarify the characters' pasts. Unfortunately, these moments sometimes feel unnecessary, like material from a different movie. They add little to the story and give the film an unnecessary, fragmented structure. It's clear that the writers, who previously worked on Fantasy Island and Truth or Dare, are not yet able to maintain tension in a truly immersive way. While the writing duo attempts to improve, some plot twists remain predictable, and the revelations feel rushed.
What does make the film strong, however, is its relevant theme about modern technology and how it affects our lives. Drop effectively plays on the way mobile phones and other technologies influence our interactions, giving the film a contemporary and realistic undertone. Violet's struggle with her personal issues is also powerfully portrayed by Meghann Fahy, who carries her character well. Her portrayal of a woman with a heavy past trying to pick up the pieces of her life makes her the emotional core of the film.
All in all, Drop is a film that doesn't fully live up to its potential. The tension and mystery are interesting, but the predictability of the plot and the failed balance between genres ultimately prevent the film from being completely convincing. Had the writing style been more refined and the storylines better intertwined, Drop could have made a much stronger impact. Still, the film offers an interesting look at the influence of technology on our lives, making it worth watching for genre enthusiasts.
The Amateur, a remake of the 1981 spy thriller of the same name, attempts to combine technological revenge fantasy with a classic CIA thriller. Director James Hawes (One Life) creates a story that is reminiscent of Jason Bourne, but with an amateur as the protagonist-both in the narrative and in the execution.
Rami Malek plays Charlie Heller, a reserved code expert at the CIA. His world collapses when his wife Sarah (Rachel Brosnahan) is killed in a terrorist attack in Loden. When the CIA fails to take action, Charlie decides to go his own way. Armed with his technical skills and a deep desire for revenge, he slowly transforms into a dangerous hacker, putting everything on the line to uncover the truth and eliminate his enemies.
At first glance, The Amateur follows a familiar path: a man loses a loved one and takes justice into his own hands. The film is reminiscent of spy classics like Mission: Impossible or Jason Bourne, but lacks the finesse, pace, and suspense of those great examples. What remains is a decent thriller that is engaging, especially in the first half.
The film also tries to do too much at once. In addition to the main story, we follow Charlie as he blackmails his boss, undergoes a training montage with a character played by Laurence Fishburne, and struggles with his own moral boundaries. These side plots slow down the pace of the story, making the film feel a bit long and disjointed. Less would have truly been more here.
Visually, it's put together reasonably well, although some explosions clearly reveal their digital origin, which doesn't help the film's credibility. Nevertheless, there are enough moments that manage to entertain, especially for fans of techno-thrillers and revenge stories.
What holds the film up is Rami Malek. He convinces as the reserved man who must step out of his comfort zone. His performance gives the film a human touch, and his message-that even the quiet, analytical types can make a difference-is likable.
The Amateur is neither a groundbreaking nor brilliant thriller, but for those looking for an entertaining movie night with a touch of espionage and revenge, there is certainly something to be gained. Don't expect a new Bourne, but with a bit of forgiveness, this is a decent copy.
Rami Malek plays Charlie Heller, a reserved code expert at the CIA. His world collapses when his wife Sarah (Rachel Brosnahan) is killed in a terrorist attack in Loden. When the CIA fails to take action, Charlie decides to go his own way. Armed with his technical skills and a deep desire for revenge, he slowly transforms into a dangerous hacker, putting everything on the line to uncover the truth and eliminate his enemies.
At first glance, The Amateur follows a familiar path: a man loses a loved one and takes justice into his own hands. The film is reminiscent of spy classics like Mission: Impossible or Jason Bourne, but lacks the finesse, pace, and suspense of those great examples. What remains is a decent thriller that is engaging, especially in the first half.
The film also tries to do too much at once. In addition to the main story, we follow Charlie as he blackmails his boss, undergoes a training montage with a character played by Laurence Fishburne, and struggles with his own moral boundaries. These side plots slow down the pace of the story, making the film feel a bit long and disjointed. Less would have truly been more here.
Visually, it's put together reasonably well, although some explosions clearly reveal their digital origin, which doesn't help the film's credibility. Nevertheless, there are enough moments that manage to entertain, especially for fans of techno-thrillers and revenge stories.
What holds the film up is Rami Malek. He convinces as the reserved man who must step out of his comfort zone. His performance gives the film a human touch, and his message-that even the quiet, analytical types can make a difference-is likable.
The Amateur is neither a groundbreaking nor brilliant thriller, but for those looking for an entertaining movie night with a touch of espionage and revenge, there is certainly something to be gained. Don't expect a new Bourne, but with a bit of forgiveness, this is a decent copy.
With Death of a Unicorn, Alex Scharfman makes his directorial debut-and he does so in a striking way. The film is presented as a horror-comedy, but what you actually get is more of a fantastical thriller with a few comedic moments and some tense scenes. Those expecting a pure horror-comedy may be disappointed, but viewers open to a genre mix with sharp themes are in for a surprisingly interesting film.
The story centers around father Elliot (Paul Rudd) and his daughter Ridley (Jenna Ortega), who accidentally hit a unicorn while on their way to a potential new job. They take the creature to the remote villa of Odell (Richard E. Grant), a sick magnate with whom Elliot might be employed. However, along with his wife Belinda (Téa Leoni) and son Sheppard (Will Poulter), the family becomes more interested in the commercial possibilities of the mysterious being than in Elliot himself. The key question becomes: can you simply claim and study something as unknown and magical as a unicorn-or are you inviting danger in the process?
The film touches on a familiar but still relevant theme: the human urge to profit, regardless of the consequences for nature and wildlife. The contrast between the Odell family's financial motives and Ridley's moral doubts forms the heart of the story. It highlights how humanity often proves to be the cruelest creature on Earth-so long as there's profit to be made.
In terms of atmosphere, Scharfman does a lot right. The film has a dark, fairytale-like tone that works well with the fantasy elements. The CGI is solid, especially in the darker scenes where the unicorn truly impresses. Less successful are the lighter scenes, where the special effects appear noticeably fake.
The acting is strong. Paul Rudd and Jenna Ortega are a believable father-daughter duo, with their moral clashes adding to the tension. Richard E. Grant, Téa Leoni, and Will Poulter convincingly portray the cold elite driven by dollar signs. Poulter also provides a few genuinely funny moments. Anthony Carrigan stands out with subtle physical humor: even without many words, his facial expressions and body language speak volumes.
Death of a Unicorn is certainly not perfect. The misleading marketing as a horror-comedy creates confusion, and the genre blend sometimes feels disjointed. But as an imaginative debut film about greed, morality, and the unknown, it's definitely an intriguing first effort. If Scharfman can refine his style in future projects and better position his films, he has the potential to create some remarkable work.
The story centers around father Elliot (Paul Rudd) and his daughter Ridley (Jenna Ortega), who accidentally hit a unicorn while on their way to a potential new job. They take the creature to the remote villa of Odell (Richard E. Grant), a sick magnate with whom Elliot might be employed. However, along with his wife Belinda (Téa Leoni) and son Sheppard (Will Poulter), the family becomes more interested in the commercial possibilities of the mysterious being than in Elliot himself. The key question becomes: can you simply claim and study something as unknown and magical as a unicorn-or are you inviting danger in the process?
The film touches on a familiar but still relevant theme: the human urge to profit, regardless of the consequences for nature and wildlife. The contrast between the Odell family's financial motives and Ridley's moral doubts forms the heart of the story. It highlights how humanity often proves to be the cruelest creature on Earth-so long as there's profit to be made.
In terms of atmosphere, Scharfman does a lot right. The film has a dark, fairytale-like tone that works well with the fantasy elements. The CGI is solid, especially in the darker scenes where the unicorn truly impresses. Less successful are the lighter scenes, where the special effects appear noticeably fake.
The acting is strong. Paul Rudd and Jenna Ortega are a believable father-daughter duo, with their moral clashes adding to the tension. Richard E. Grant, Téa Leoni, and Will Poulter convincingly portray the cold elite driven by dollar signs. Poulter also provides a few genuinely funny moments. Anthony Carrigan stands out with subtle physical humor: even without many words, his facial expressions and body language speak volumes.
Death of a Unicorn is certainly not perfect. The misleading marketing as a horror-comedy creates confusion, and the genre blend sometimes feels disjointed. But as an imaginative debut film about greed, morality, and the unknown, it's definitely an intriguing first effort. If Scharfman can refine his style in future projects and better position his films, he has the potential to create some remarkable work.