Some thrillers hook you with their characters, others with their plot, but a few stand out because of one strong idea. Fall is one of those. Scott Mann’s survival thriller is built around a simple question: what happens when two young women climb an abandoned TV tower and get stuck at the top? The answer plays out over 107 tense minutes, for better and for worse.

Becky (Grace Caroline Currey) is mourning her husband, who died in a climbing accident. Her friend Hunter (Virginia Gardner), who loves social media and risky adventures, convinces her to face her fears by climbing an old broadcasting tower in the desert. It’s a reckless plan from the start, and Mann doesn’t try to hide that. The real draw isn’t their reason for climbing, but what happens after they reach the top.

Once the ladder breaks beneath them, Fall finds its focus. The movie becomes a steady test of nerves, effectively tapping into our natural fear of heights. Mann and cinematographer MacGregor do a great job making the tower’s height feel real, often placing viewers in uncomfortable spots. Even looking down feels brave.

The movie’s biggest strength is how it tells its story through visuals. Every gust of wind, shaky step, and look into the empty space below feels important. Unlike many thrillers that use constant editing and loud sounds, Fall shows that suspense can come from quiet moments. The tower itself stands out as the film’s most memorable character, a rusty structure swaying against the endless sky.

Currey gives a strong performance as Becky, making the unbelievable situation feel real through her emotions. Gardner brings energy and confidence to Hunter, though sometimes the script turns her into a typical influencer stereotype. Still, the two have enough chemistry to keep viewers interested, even when the dialogue does not quite match the story’s tension.

Unfortunately, Fall stumbles when it tries to add depth to its characters or bring in emotional moments. The script often goes for sentimental scenes that feel out of place. Some plot twists are hard to believe, asking viewers to ignore practical details in favour of drama. While it is normal to suspend disbelief in movies like this, sometimes the film asks for too much.

Focusing only on whether Fall is believable misses the point. Like the best survival thrillers, it works by tapping into a basic fear. You do not watch it for deep characters or thoughtful takes on grief. You watch because every scene feels like a disaster could happen, and the filmmakers are great at making you feel that tension.

By the final act, the film’s narrative contrivances become more noticeable, and some viewers may find the emotional payoffs less satisfying than the physical ordeal that precedes them. Even so, Mann deserves credit for constructing a thriller that wrings extraordinary tension from a deceptively simple setup.

Fall may not reach the heights of the genre’s very best entries, but it delivers exactly what it promises: a white-knuckle experience that leaves your palms sweaty and your legs feeling unexpectedly weak.

Similar Films

• The Shallows (2016)
• Frozen (2010)
• 47 Metres Down (2017)

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