Fall (2022)

Fall is the kind of thriller that grabs you by the ankles and dangles you over the void—pure, primal suspense built from a simple setup executed with ruthless confidence. Scott Mann turns a remote radio tower into a nightmare playground, using vertigo-inducing visuals and razor-sharp sound design to make you feel every gust of wind and every inch of height. Grace Caroline Currey and Virginia Gardner sell the terror with grounded, committed performances, keeping the experience human even as it becomes increasingly harrowing. It’s not for the faint of heart (or anyone who breaks into a sweat on a stepladder), but if you want a lean, adrenal survival ride, this one delivers.

Fall is clearly aiming to be a pure, sweaty-palmed survival thriller—basically “what if your fear of heights had a feature-length runtime,” and on that level it often works. The problem is the setup and many of the story beats feel so absurd and unreal that you may spend as much time rolling your eyes as gripping the armrest, with dialogue and character drama that can come off juvenile and thin. If you need grounded realism, smart writing, or emotional weight to buy into the danger, this will likely feel like a silly misfire. If you can accept a big, dumb premise in exchange for relentless vertigo and tension, it’s a decent one-night adrenaline hit.