Drop

In Drop, directed by Christopher Landon and written by Jillian Jacobs and Chris Roach, Meghann Fahy stars as Violet, a single mother navigating the nerves of a first date with the all-American Henry (Brandon Sklenar) in a sleek, high-rise Chicago restaurant. But what begins as a seemingly normal evening quickly descends into chaos. Just as she’s about to sit down, Violet starts receiving anonymous meme drops on her phone.

At first humorous, then increasingly sinister. Soon, it becomes clear that her sister and son are in danger at home, and Violet is given a chilling ultimatum: she must kill her date. With surveillance cameras tracking her every move and a room full of potential suspects, Violet is forced to play along, navigating her date while searching for any opportunity to turn the tables.

Drop fits neatly into Blumhouse’s signature micro-budget thriller lineup, a studio known for its hit-or-miss output. Fortunately, Landon once again proves his knack for suspenseful storytelling with a clever, contained concept reminiscent of films like Red Eye and Phone Booth, updated for the smartphone and CCTV age. Jacobs and Roach craft a tight, suspense-driven script that mixes tension with the natural awkwardness of a first date. While the premise centers on the question of whether Violet will follow through with the unthinkable, a more compelling mystery emerges: who’s pulling the strings?

“…becomes clear that her sister and son are in danger at home, and Violet is given a chilling ultimatum: she must kill her datev.”

The supporting characters are quirky and well-developed, each adding to the intrigue—a cold hostess, an eccentric waiter, a sleazy piano player, and another couple also on a first date. All serve a purpose in the unfolding mystery, and no character feels wasted.

Visually, Landon adds flair to Drop by displaying text messages in bold, stylized graphics that feel fresh and cinematic. The high-rise restaurant setting isn’t just atmospheric—it also enables a dynamic sense of surveillance, enhancing Violet’s sense of entrapment. Strategic use of reflective surfaces and isolated corners allows for moments of tension and revelation as Violet tries to identify her manipulator.

The emotional core, however, rests on Fahy’s standout performance. She balances fear, humor, and determination with impressive range, anchoring the film as both the target and reluctant heroine. Sklenar, fresh off the finale of 1923, complements her well, portraying a patient, empathetic man increasingly confused by Violet’s erratic behavior. Their chemistry keeps the dialogue-driven scenes compelling, almost theatrical in their pacing and delivery.

Drop succeeds by blending classic thriller elements with modern tech paranoia, anchored by strong performances and sharp direction. It’s a tense, engaging ride that keeps viewers guessing until the very end.