A delectable premise finds maniacal delivery in Drop, a taut new thriller from Happy Death Day’s Christopher Landon. As penned by Jillian Jacobs and Chris Roach, the film boasts the sort of idea so ripe for mining that it’s perplexing to think nobody has done so before. An AirDrop thriller for the iPhone era. Drop was, in fact, conceived only when the girlfriend of its executive producer, Sam Lerner, began receiving dodgy Shrek memes one night in a packed restaurant. It’s no huge leap to climb from crass to creepy and then on to criminal. In Landon’s hands, it’s splendidly scaled.
Somewhere between ‘poisoned apple’ and ‘fairest of them all’ lies a more nuanced assessment of Marc Webb’s Snow White than that widely available online. The film may not quite achieve irrefutable greatness but there’s certainly nothing here so insidious as to warrant the torrent of bad press that currently haunts the film. Snow White is, by all accounts, perfectly pleasant. It’s well cast, vibrantly hued and rousingly scored. In a Disney remake canon that also includes Robert Zemeckis’ Pinocchio and 2016 stinker Alice Through the Looking Glass, this one does nice business.
It’s no mean feat to earn an 18 certificate in 2025. Sadism and hard sex will usually do it but audiences today are far too well immunised for drugs and swearing to cut the mustard. As for the 18s of yesteryear, they’ve all been downgraded to Us and PGs. You can catch them on the kids zone on Netflix. With this in mind, there’s something oddly endearing in Nick Love’s efforts to push the boat out for the solidly 18-rated Marching Powder. Somewhere amidst Love’s liberal approach to cocaine snorting, c-words and underage porn watching, all the wrong buttons have been pressed at the BBFC. It’s casually, half-arsedly shocking. A little like finding a condom in your dad’s wash bag when all you were looking for was dental floss. It’ll take more minty nylon to expunge that memory.
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