The only more stressful thing than having the caliber before a special occasion is that the outer part intensifies this wave of anxiety under the threat of death. In the superb new thriller by Christoper Landon “Drop”, which / Ryan Scott of the film praised like a lean and pleasant stroll in his reviewMeghann Fahy plays a single mother who finds herself on the first date of hell when she begins to receive a series of threatening air messages. If she did not follow the specific instructions of the mysterious figure to kill her appointment, then her son will die, just like anyone whom she will try to warn in the process.

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Landon makes the jump of horror comedy with high -tension thriller with ease, creating a captivating feeling of paranoia when our main character is struggling with the terrible situation in which she found herself. You will see a lot of people compare “drop” to “Red Eye” by Wes Craven, “ And they are not mistaken. This last film is a fun, but light game, in which Rachel McAdams is threatened by Cillian Murphy during a red -eyed flight as part of a greater (and deadly) conspiracy. As for me, I would like to turn your attention to a 2013 captivating thriller with a similar premise – the one you probably did not hear about but which deserves much more eyes.

In “Grand Piano”, Elijah Wood plays Tom Selznick, a concert pianist riddled with anxiety while he is preparing to make his long -awaited return on stage. More than five years earlier, Tom (the protégé of the venerated composer Patrick Godureaux, played by Jack Taylor) stifled while trying to finish the last notes in the complex composition of his mentor, “La Cinquette”. But an entire chicago auditorium has come out to see Tom honor his mentor now deceased with the musical return of the century.

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If the weight of expectations was not heavy enough, Tom’s big night becomes all the more overwhelmed when he realizes that he is targeted by a sniper (John Cusack) who can see each of his movements. If he played a bad note and will not complete “the fiftequette” to perfection, not only will he die, but his actor Emma (Kerry Bishé), who looks from a box seat above, will also be killed. Needless to say, Tom is developing an even more intense case for fear of the scene.

“Isn’t that incredible what you can get out of it in a crowded theater when all eyes are on stage?” asks for the disembodied antagonist of Cusack.

Wood is the perfect actor to throw in the orchestral meat crusher. He is a flexible artist who can play anything A hobbit with wide -eyed eyes crossing the land of the middle in “The Lord of the Rings” To a cold blood killer in “Sin City”, but his sensitivity makes a quiet layer performance in “Grand Piano” who plays his strength. It is phenomenal to look terrified by the invisible spotlights that pushed it. We see that Tom is a person with a good heart who is very on board well before discovering the red marker who changes the course of his night. This is only more palpable fear when we start to see signs of a much more sinister concert that is about to occur.

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One ear provides auditory correspondence with the largely invisible assassin of Cusack, who wants Tom to remain concentrated but presents himself as a cat that simply cannot resist playing with his food. He speaks to the anxious pianist with the confidence of someone who believes that all this can go much more fluid than it seems. Cusack has fun playing the puppet masterWhile waiting for the opportunities to shoot Tom’s strings to see if they will break.

A central actor in the symphonic conflict is the composer Victor Reyes, whose score attached to the heart emphasizes a sound tension which is reflected through the many verbal combat sessions of Wood and Cusack. It works even without the physical threat, because it manifests itself in an internal battle that you can see Tom being played with himself. The ups and downs of the concerto reflect the extreme pressure of a musician simultaneously on the hook for his audience, his wife, his orchestra team and, above all, his heritage.

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We seem to move away from high concept thrillers that Make good use of a single location. “Grand Piano” is an excellent example of that well done. The film is elegantly directed by the composer who has become the filmmaker Eugenio Mira, who draws a lot of suspense from the Chicago auditorium as the ultimate scene of terror. It’s a shame that Mira has not made a feature film since it; He brings a real flair to the old school at the table, allowing the film to prosper in his marriage of strong visual and auditory sensations.

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“Grand Piano” is possessed by the spirits of Alfred Hitchcock and Brian de Palma, because the camera has fun playing with Wood pianist that the assassin. I have levity to the inclusion of a match cup which brilliantly worsened someone who makes his throat split with a glass of glass against a scratching arc against the violin strings. Between sweat pearls and stray eyes, the camera savor the capture of psychological distress on each centimeter of Wood’s face. The imminent threat of death is accentuated by the hellish red backdrop in which it is wrapped.

One of the most catchy talents attached to the film is “La la Land” and The filmmaker “Babylon” Damien Chazellewho wrote his script. There are points where adversity to play a flawless concert works like a dry race for the musical intensity that Chazelle would inevitably bring to the “boost”. Chazelle considered His visit to the set “Grand Piano” An invaluable experience as a flowery storyteller, seeing how the movements of the camera listened to the pre-order superposition of the music itself.

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Overall, “Grand Piano” is a good pulpy moment that does not waste a second that pushes you in chaos and, at 90 minutes, does not exceed its welcome.

“Grand Piano” is currently in difficulty on Prime Video.