Oops! The Drop's accident-prone premise is dark and bold, but the rest of the meandering dramedy feels like falling on concrete. aurora_amidon's review:
Contemporary filmmakers are nothing if not risk takers. From death-taunting stunts to unsimulated sex, whistleblowing attempts and dangerously controversial political statements, there’s virtually nothing a director won’t put in their film. But in the century-plus since the first moving picture hit the big screen, few filmmakers have been gutsy enough to have their first act include a newborn baby being dropped onto cold, hard concrete—which simultaneously makes Sarah Adina Smith’sstarts strong.
And then, something gob-smackingly, eye-wideningly shocking happens. Lex becomes momentarily distracted, and the baby slips through her arms and lands on the pavement with a dull, cracking thud that echoes in your ears long after the title card is slapped dramatically and hilariously onto the screen.
From that moment on, the drop turns—or at least attempts to turn—into the catalyst for all of the characters’ insecurities to emerge in full bloom, and for its relationships to quickly unravel and deteriorate. One character becomes increasingly gun-obsessed. A couple argues about whetherare capable of dropping a baby. A burgeoning meninist tween is upgraded to full misogynist status.
At the center of it all are Lex and Mani. Deep cracks start to emerge in their relationship, all of which are a version of a central question: Does Lex actually want to be a mother? Sadly, cracks also start to appear in the quality ofAs with any ensemble piece,’s success relies on its characters, and for the most part, they are largely ineffective—much of which has to do with the central friend group coming across as an ill-fitted hodgepodge of eccentrics with little to nothing in common.
It doesn’t help, either, that some of the core performances leave something to be desired. Mani, for example, is a man of few words—a tough trick to pull off, given that he goes through the most change and crisis throughout the film. Fowler lacks the subtlety required to convey so much with so little. What results is a lot of shots capturing a blank expression.
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