Drop

Director: Christopher Landon
Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan, Jeffery Self, Ed Weeks, Benjamin Pelletier, Travis Nelson, Michael Shea
Running Time: 95 min.
Rating: PG-13

★★★ (out of ★★★★) 

A woman experiences the date from hell in Christopher Landon's tense cyber thriller, Drop, which falls into a similar category as Phone Booth, Cellular or even the recent Carry-On. That it comes from the filmmaker behind Happy Death Day and Freaky should help prepare you for a clever premise filled with wildly entertaining twists, though with a slightly less humorous approach this time around. And that's not necessarily a negative, as writers Jillian Jacobs and Chris Roach script cover all their bases with increasingly creative uses of modern technology and an idea that, at just over ninety minutes, doesn't overstay its welcome. 

Providing its fair share of obstacles for the traumatized heroine, she fights an unknown oppressor after having recently survived abuse and attempted murder in her own troubled marriage. While a solid showcase for an actress gaining significant traction of late, the bigger headline is this bizarre date, which through no fault of the character's own, paints her as a total mess to everyone but us, who know better. With every vibration of the phone come a new potential catastrophe, forcing her to silently comply or face the consequences.  

Widowed single mother and therapist Violet Gates (Meghann Fahy) has just jumped back into the dating pool after the death of her violently abusive husband Blake (Michael Shea). Leaving her young son Toby (Jacob Robinson) in the care of sister Jen (Violett Beane) at home, Violet prepares to meet photographer Henry Campbell (Brandon Sklenar) for dinner at a high-rise Chicago restaurant after they connected on a dating app. Already extremely nervous about the date and being separated from Toby, she starts receiving a series of anonymous "digi-drops" on her phone from an unknown user in the restaurant. 

As the memes turn more threatening, a concerned Henry tries to help, combing the area to locate the perpetrator. But when the mystery user alerts Violet to check her home security app, she sees a masked intruder has broken in, targeting Toby and Jen. With the table bugged and Henry growing suspicious of Violet's anxiety, she struggles to keep her composure and quietly follow instructions. Blackmailed into completing a dangerous task by the end of the date, she'll have to extend their meal long enough to pull off the unthinkable, as her family's lives hang in the balance. 

The first thoughts of anyone watching will be that Henry has the patience and understanding of a saint. In fact, he's so tolerant of Violet's apparent breakdown she can't help but be impressed by his chivalry even in the midst of being texted deadly threats. Outwardly cool and laid back, he knows something's very wrong by just the sheer number of times she checks her phone and leaves the table. And while he's not sure exactly what, it's surprising he cares enough to stay and find out.  

Of course, the bigger reason Henry doesn't leave is that Violet can't let him, as his continued presence isn't only imperative to the assignment, but potentially her only lifeline left. With son and sister held hostage at home, she's implicitly ordered not to seek help or attract suspicion, kicking the plot into overdrive. This works on a number of different levels, paving the way for some suspenseful visual storytelling when Violet attempts to identify the sadistic user while under constant surveillance. But she also has some tricks up her sleeve to keep this date going and avoid committing the heinous crime that's demanded of her. 

It's a lot, but Landon streamlines these proceedings pretty well, with the restaurant's layout and atmosphere only enhancing the action. Featuring a main course of murder with its side order of mind games, it's also a safe bet this isn't taking place in an extreme high-rise building for nothing, as we suspect it'll eventually factor in. Violet's history with her deceased and abusive husband also plays a major role, allowing the mysterious antagonist to exploit her emotional baggage as a manipulative tool. Frequent flashbacks to her volatile marriage aren't completely necessary, but do add an extra wrinkle to the character, helping explain her fragile mindset going in. 

Acing her first real test as a feature lead after gaining attention on The White Lotus, a formidable Meghann Fahy brings necessary gravitas to her role as this PTSD-striken single mom caught in a no-win situation. What's interesting is how much of her dialogue consists of awkward date small talk, with the caveat being this silent battle she's simultaneously waging at the table as threatening texts splash across the screen. 

Brandon Sklenar plays a part vaguely similar to his brooding everyman in It Ends with Us, conveying the impression Henry's intrigued by Violet because of her past rather than despite it. The pair also share a sufficient amount of chemistry, which comes as a relief since we're spending the entirety of the film's running length in their company. For Violet, big question isn't whether he's too good to be true, but if it's worth the risk letting him in on what's happening given the stakes.  

Between chatty waiters, concerned bartenders and shady patrons, much of the film relies on the big reveal as suspects narrow and a cornered Violet makes her final, desperate move with the clock rapidly running down. Once the cards are laid out, it's an excitingly ridiculous finale, regardless of whether you see it coming or not. And like all successful single location thrillers, Drop walks the line of implausibility, throwing in enough distractions for us to surrender to the lunacy. But by putting its own spin on a somewhat familiar scenario, it also gives viewers good reason to feel satisfied they've seen an tidy, efficient effort more creative than most.                              

Happy Death Day 2U (2019)

Director: Christopher Landon
Starring: Jessica Rothe, Israel Broussard, Phi Vu, Suraj Sharma, Sarah Yarkin, Rachel Matthews, Ruby Modine, Steve Zissis, Charles Aitken, Laura Clifton, Missy Yager, Jason Bayle, Rob Mello
Rating: PG-13

★★★ (out of ★★★★)

Released in 2017, Christopher Landon's Happy Death Day was enthusiastically received by both critics and audiences for re-energizing Groundhog Day's familiar premise as a modern black comedy slasher. After catching up with it far later than expected, what jumped out most was that you could literally sit anyone in front of it with complete confidence they'd enjoy themselves. Being universally recommendable isn't a small compliment, as this proved the rare instance where that dreaded 'PG-13' rating actually served the material, foregoing a reliance on kills and gore to instead exploit the premise's sharp humor for all it's worth.

Now, after waiting even longer to finally see its sequel, 2019's Happy Death Day 2U, confirmation arrives that it's just as crazy as everyone says. While it may lack its predecessor's sense of discovery and a flawed protagonist's exciting transformation, Landon does something really interesting here that you don't frequently see from most sequels, horror or otherwise. He dares to make a totally different movie, expanding his pre-existing universe while making viewers call upon all their knowledge of the previous film. You can't just sit anyone in front of this one if they haven't seen the first, and that's what makes it so strangely appealing.

Abandoning many of its horror elements to go full sci-fi and draw from 80's teen comedies like Weird Science and Real Genius, the sequel's essentially a love letter to Back to the Future Part II, complete with alternate timelines and parallel universes. The script even acknowledges it outright, while making no apologies for wanting to do more than repeat the original. But more impressively, it accomplishes this by still doing exactly that.  

Waking up in his car on Tuesday, September 19, Bayfield University student Ryan (Phi Vu) returns to his dorm room to find roommate Carter (Israel Broussard) with girlfriend Tree (Jessica Rothe). After going back to work on his experimental quantum reactor with friends Samar (Suraj Sharma) and Dre (Sarah Yarkin), Ryan's killed by someone in a Babyface mask before waking up again on the same day. Upon hearing Ryan's story, Tree realizes he's now stuck in a time loop eerily similar to the one she experienced on Monday the 18th. The group's effort to close the loop instead results in a lab disaster with the machine, sending Tree back to relive that original day, but in an alternate timeline. 

With people she knows now suddenly occupying different roles and functions in this new reality, Tree must deal with the fallout and find help to get back, assuming that's what she wants. Complicating matters is that the Babyface killer is on the loose, with their identity and motives suddenly again a mystery in this alternate dimension. Faced with a nearly impossible choice, Tree's desire to escape this loop isn't so cut and dry, as this reality offers her a second chance at something she never thought she'd experience again. 

In attempting to give a complete explanation for what happened in the preceding entry, it tries more than most sequels, leaning so far into the sci-fi component that you question whether it's actually more information than necessary. While everything involving the reactor machine is silly and probably makes even less sense than most time travel plots, that's kind of the point, transforming what was previously a dark slasher comedy into an ambitious, entertaining farce that enables Landon to use every creative tool at his disposal to construct a viable follow-up. 

The idea of an alternate timeline seems very much inspired by BTTF Part II, and at first glance seems to be an odd fit with the Groundhog Day meets Scream approach of the original. But it all works to the film's advantage, as Landon's script finds fresh ways to repurpose nearly all the supporting players in new roles that depart heavily from how they were previously portrayed. The result is a story that's able to return to the settings, places and people of Tree's seemingly endless Monday the 18th, but with the added twist of everything being just a little off and her having to navigate through it again. 

Familiar enough, but containing just enough surprises, the script manages to substantially build on everything that happened before, giving supporting players like Tree's sorority sisters Danielle (Rachel Matthews) and Lori (Ruby Modine), Dr. Butler (Charles Aitken) and escaped serial killer Tombs (Rob Mello) a fresh coat of paint. It also again puts the masked Babyface killer's identity in doubt, even if that sometimes takes a backseat to some of the comedic shenanigans involving Ryan's science buddies and the school's hapless Dean (a scene-stealing Steve Zissis). There's a goofy sequence where he's distracted by a "foreign exchange student" that has no right being as funny as it is and yet it completely works. It's also tough to recall a sequel that has this much of its original cast return, right down to even the smallest of cameos, making the plot's machinations sturdier.  

Falsely teasing roommate Ryan as the main character was a good idea since it not only reels us in, but creates worry as to whether Tree will be sidelined, only to change course and enable viewers to make the discovery along with her again. If Tree's relationship with kind, nerdy Carter proved to be the glue that held the first film together, it's now as if that never happened, at least for this version of him, who has a life that definitely doesn't include her. This means she'll have some work to do, all while facing a reality in which her late mom (Missy Yager) is still alive, after that tragic loss already shaped what she's become. 

After transcending the confines of the genre to portray a completely different type of scream queen in the first film, Jessica Rothe's versatile performance as reformed sorority mean girl Tree Gelbman is somehow even better this time around. In one particularly dramatic scene, she believably registers a whole spectrum of emotions you just can't imagine getting from another actress in any similar role. She does this and alternately displays unmatched comedic chops in a memorably hilarious suicide montage wherein Tree continuously and creatively offs herself to get to the next day. How Rothe isn't in demand for every project out there boggles the mind, as we're once again given front row seats to what should be the breakout of a major new screen star. On one hand, you want to see her continue along this route because she's so good at it, but it's impossible not to wonder how much untapped potential still exists should she decide to tackle entirely different roles. 

The screenplay sets up a choice at the end that's handled really well, while also having something smart to say about the comfort of looking back versus embracing what lies ahead. Despite a post-credit scene setting up another sequel, this one's somewhat lackluster box office haul temporarily put those plans to bed. Luckily, Landon's subsequent success with 2020's body swap horror comedy Freaky did resuscitate that conversation, along with rumors about some kind of crossover between the two. Given how each  subverted their genres so similarly, it would probably work as a single outing. Whatever disappointment horror fans feel about Happy Death Day 2U rarely qualifying as a full-blown slasher are offset by everything else it does to differentiate itself as a sequel. So while it may be easier to prefer the ride we're taken on in the original, it's tough to blame anyone who far prefers the risks this takes instead.

Freaky

Director: Christopher Landon
Starring: Vince Vaughn, Kathryn Newton, Katie Finneran, Dana Drori, Celeste O' Connor, Misha Osherovich, Uriah Shelton, Alan Ruck, Melissa Collazo
Running Time: 101 min.
Rating: R 

★★★ (out of ★★★★) 

The body swap movie has always been a popular Hollywood standby, going all the way back to such titles as 18 Again!, Vice Versa and even the more contemporarily popular 13 Going on 30. Christopher Landon's Freaky has a unique take on this, adding comedic horror elements and a wildly effective gender flip to the equation. That it comes from the director of the underpraised, Groundhog Day-inspired Happy Death Day is of little surprise, with the two slashers sharing very similar sensibilities.This isn't quite as successful, but after an awkward start where the tone seems to be all over the place, it quickly settles into a groove, emerging more as a standout in a sub-genre where it seems as if everything's already been tried. 

It opens as the Scream sequel we never needed in going so over-the-top and self-referential to start that I half-expected the camera to pull back and reveal a theater full of cheering moviegoers. And when a giant title card reading "Wednesday the 11th" appears on screen, I figured it was only a matter of time. But no, this is all literally occurring, complete with a lanky, hulking figure who resembles Vince Vaughn offing teenagers in an intentionally cheap-looking monster mask stitched together from Leatherface and Michael Myers' leftovers. 

That this is a Blumhouse production makes perfect sense considering Blum himself has been trying obtain the remake rights to Friday the 13th, for which this opening sequence could be considered a trial run. The sequence ends with a clever tennis court kill that would immediately win any skeptic over. So  while still enagaging in a few familar tropes, this at least knows what it is and breaks free in a big way, thanks in no small part to a well-conceived scenario, lots of laughs and two opposing stars who literally and figuratively slay their roles. 

When four teenagers are murdered by the masked Blissfield Butcher (Vaughn), he's able to get his hands on an ancient dagger known as La Dola, the community goes on high alert. Bullied, insecure high school student Millie Kessler (Kathryn Newton) is still reeling from her father's sudden death a year ago, caring for her emotionally dependent, alcoholic mom, Coral (Katie Finneran) while older sister Charlene (Dana Drori), a police officer, dives into her work. After performing as the school mascot at the homecoming game, Millie's cornered alone by the Butcher, as he stabs her in the arm with the mystical dagger. 

With both waking up the next day realizing they've switched bodies, the Butcher now occupies Millie as she finds herself inhabiting the body of this serial killer. Conversely taking full advantage of his 17 year-old girl disguise, the Butcher goes to school and wreaks havoc as Millie, simultaneously shocking and exciting her peers with a dangerous new attitude. Meanwhile, the real Millie attempts to adjust to being stuck in a man's body, while trying to convince best friends Nyla (Celeste O' Connor) and Josh (Misha Osherovich) and crush Booker (Uriah Shelton) what's happened. But she'll need to take possession of the dagger and stab the Butcher by midnight to reverse the curse, or they'll be permanently trapped in the other's body. 

It's kind of a tradition in these movies that the two characters switch bodies due to some magical object they're exposed to, and as much as this film does differently, the script very much sticks to this. Even by those standards, the La Dola dagger that incites the switch is no more or less ridiculous than previous examples of this type of plot device. And no teen slasher could be complete without a central female character who's bullied for being either a "freak," or "loser," deemed undateable for no discernable reason other than they think they are, or maybe simply because it's high school. This can be challenging since the qualities they're looking for when casting an actress for that can sometimes oppose what's required when the cameras start rolling. She'll not only have to be popular and an outcast all at once, but pretend to inhabit the body of a killer more than twice her age and a different gender. 

Kathryn Newton deftly handles all of this as well as anyone could, marking it as a big, star-making outing for her after some rebellious teen turns on TV (Big Little Lies, Halt and Catch Fire) and the big screen (Blockers). While the movie lays it on pretty thick in the beginning to set everything up, it requires massive shifts in attitude and personality at the drop of a hat, providing a great showcase for a rapidly rising actress we'll definitely be seeing a lot more of. Once she does her slo-mo walk through the school's doors as Butcher it's game on, with the results being just as funny and thrilling as its wacky premise suggests. It also opens the floodgates for Millie's antagonists getting theirs, including Ferris Bueller's Alan Ruck, whose brief, but memorable work as an angry, abusive shop teacher is one of the movie's biggest treats, providing a textbook example of how to properly riff on a cult actor's reputation in a modern slasher.

You're initially sort of perplexed at Vince Vaughn's mannerisms as a teen girl, until the manhunt kicks in and he goes on the run, attempting to convince everyone he (or she) isn't what he appears to be. In this regard there are some great physical comedy scenes that revolve around the actor's size, more easily enabling the script to find ways for Millie to unlock the inner and outer strength residing in her, playing on the movie's themes. Because of its genre, and Vaughn's capabilities, this goes further you'd expect, with some highlights including a kitchen brawl with her friends and a great gag involving him bumbling around town in a creepy Aaron Rodgers mask. The height of Vaughn's portrayal comes in a department store fitting room conversation with Millie's mom who's completely unaware she's finally opening up to her own daughter, albeit while stuck in the body of a fugitive killer.   

Much of the third act revolves around comedic misunderstandings and mistaken identity scenarios, as it becomes a race to obtain the dagger and sell Millie's cop sister on the outrageous conceit that the murderer in her crosshairs is actually Millie. The ending is kind of a mixed bag in that it engages in something all slashers do, if rarely so blatantly. Given this is a parody of sorts, Landon gets away with it, even if you can't help but think there's an excised scene somewhere that clarifies a huge logic leap in the film's final few minutes. If it plays fast and loose with the rules even by horror comedy standards, Landon and co-writer Michael Kennedy earn points for a closing line that's memorable enough for them to deservedly be fist-bumping everyone in sight.

Freaky picks up steam and doesn't relent, exhausting every available plot avenue with its admittedly inspired twist on a familiar concept. You have to respect its willingness to go all the way with it, daring us to cringe and laugh in discomfort at its absurdity, which is exactly the point. Even if it all makes for a better body swap comedy than self-aware teen horror entry, we already have more than enough of the latter that it shouldn't matter one bit. It's easy to see what sets this apart, and there's little mystery in why fans of any genre would be raving about it.