Drop

Rating 6/10

Some thrillers claim to be “based in reality,” but only if you’re willing to believe that intelligent adults will make decisions that defy common sense. Guilty pleasures like Marathon Man or Single White Female thrive on that kind of tension. Drop aspires to be part of that same grand tradition. It’s not nearly as effective, but it’s still a sleek and entertaining ride.

This is a cautionary tale for the smartphone era. Directed by Christopher Landon (Happy Death Day, Freaky), it follows Violet (Meghann Fahy), a widowed mother whose first date with the charming Henry (Brandon Sklenar) spirals into a nightmare. She begins receiving anonymous messages via a fictional app called DigiDrop. These messages, originating from within a 50-foot radius, are reminiscent of Apple’s AirDrop. The stranger threatens her son Toby and sister Jen, who’s watching him at home. Violet is told to carry out a series of increasingly tricky instructions—culminating in the demand that she kill her date.

The screenplay by Jillian Jacobs and Chris Roach requires a hefty suspension of disbelief. Within minutes, I questioned if it was even possible for a stranger to maintain that kind of AirDrop-like connection all night, could someone really hijack and clone another person’s cell so easily, and, most glaringly, whether any mother would go through this harassment without making more concerted attempts to warn someone. After all, her child’s life is at stake.

Violet checks the home cameras early on to confirm there is indeed an intruder—and then promptly forgets they exist. She rarely looks to verify the threat again. Yet she’s glued to her phone for the entire dinner. That Henry doesn’t get up and walk out is either a sign he’s incredibly patient or suspiciously involved.

Despite these implausibilities, Drop works better than it should. The entire film unfolds in real-time within a single, upscale Chicago restaurant, where the production design—sleek, modern, and a little cold—creates a nice contrast with the escalating panic. The restaurant’s opulence adds to the suspense, emphasizing how trapped Violet feels despite being in public. She isn’t shackled to a chair, but her mobile becomes a tool of psychological imprisonment.

Actress Meghann Fahy sells every beat of Violet’s fear and resolve, giving the film its heart even when the plot spirals into absurdity. Brandon Sklenar is equally compelling as Henry, whose easygoing demeanor keeps us guessing: is he part of the setup or just the world’s most understanding dining companion?

Yes, the premise makes very little sense—but this account doesn’t pretend to be a profound exploration of plausible scenarios. Like Netflix’s recent Carry-On, it features an unseen villain coercing an innocent to do their dirty work. But Drop is far more stylish and satisfying. It has fun with its over-the-top concept and delivers a taut, 95-minute experience. Drop succeeds where it counts: pacing and atmosphere. Thanks to sharp production design, a claustrophobic one-night setting, and two committed performances, it’s a slick piece of genre escapism—provided you’re willing to check your logic at the door.

04-07-25