Have you ever used a dating app? Felt nervous about not knowing what to expect? Well, the protagonist of today’s movie is very nervous, especially when she starts receiving increasingly unsettling messages on her phone. Drop taps directly into this contemporary anxiety, transforming a fancy dinner date into a harrowing high-stakes hostage situation orchestrated entirely through the seemingly innocuous interface of a phone. The film presents a chillingly plausible nightmare where technology designed to connect people becomes a terrifying instrument of coercion and surveillance, forcing its protagonist into an impossible game where every notification could mean life or death.
Released with a PG-13 rating, Drop marks a return to the pure thriller genre for Christopher Landon, a filmmaker celebrated for skillfully blending horror and comedy in hits like Happy Death Day and Freaky. Leading the cast is Meghann Fahy, whose star rose rapidly after her Emmy-nominated role in The White Lotus, taking on the demanding central role of Violet Gates. The film also represents a notable production partnership, bringing together genre powerhouses Blumhouse Productions and Platinum Dunes, known for collaborating on lucrative franchises like The Purge. Drop skillfully combines the thriller style of Brian De Palma or Hitchcock with technological modernity. Palpable direction builds suspense in crescendo, featuring stylized shots, excellent editing, and solid direction.
A Date Gone Terribly Wrong
Violet Gates, played by Meghann Fahy, is a Chicago therapist navigating life as a single mother to her young son, Toby (Jacob Robinson), following her husband’s death. Crucially, her past is shadowed by trauma; her late husband, Blake, was abusive. Violet prepares for her first date in a long time, leaving Toby in the care of her sister, Jen (Violett Beane). The setting for this crucial evening is Palate, an exclusive rooftop restaurant in a skyscraper offering stunning city skyline views—though the elegant interiors and vistas were actually created on soundstages in Ireland. Her date is Henry Campbell (Brandon Sklenar), a photographer she connected with via a dating app, whose real-life charm and good looks initially surpass his profile, offering Violet a glimmer of hopeful relief.
Violet’s phone begins buzzing with unsolicited anonymous messages delivered via “DigiDrop,” the film’s stand-in for Apple’s AirDrop feature. Initially, these intrusions are baffling, even absurdly modern—mostly harassing memes. However, the digital harassment quickly escalates. Directed to check her home security feed remotely, Violet witnesses the terrifying image of a masked intruder inside her house. The messages turn deadly serious: comply with the unseen tormentor’s increasingly sinister demands, or her son and sister will be killed.
Landon at the Helm: Thrills, Style, and Genre Play
Christopher Landon, stepping behind the camera for Drop, consciously deviated from the overt horror-comedy styles that defined Happy Death Day and Freaky. He expressed a desire to tackle a new challenge, returning to a more “classic” and “grounded” thriller framework, reminiscent of his earlier screenwriting work on Disturbia. The resulting film is frequently described as remarkably efficient, a “thrill ride” that establishes its premise and pursues its goal of generating suspense without unnecessary detours. Landon’s direction is marked by a clear reverence for the masters of suspense. References abound to classic thrillers, to Brian De Palma himself, to Hitchcock, and even to Wes Craven (who has a film with a very similar premise). Cinematographically, the director knows exactly what he’s doing: a festival of close-ups, camera movements, constant Dutch angles (oblique shots)… all elegantly lit and featuring exquisite editing. But it’s not all homage; Christopher Landon knows how to modernize everything with the messages the protagonist receives via her phone, words that flood the scenes everywhere.
Meghann Fahy Dominates the Screen
Amidst the twists, turns, and technological terror of Drop, one element receives near-universal praise: Meghann Fahy’s central performance as Violet Gates. This role serves as a significant big-screen showcase for the actress following her widely lauded, Emmy-nominated performance in the second season of HBO’s The White Lotus. Fahy is tasked with embodying a complex tapestry of emotions. She convincingly portrays Violet’s initial first-date jitters, the rapidly escalating panic and terror as the threats unfold, the deep-seated trauma informing her reactions, and the moments of desperate ingenuity and nascent resilience that emerge under pressure.
The Cast (of Potential Suspects)
While Meghann Fahy carries the emotional weight of Drop, she is surrounded by a capable supporting cast tasked with populating the claustrophobic restaurant setting and serving as potential suspects in the central mystery. Brandon Sklenar takes on the role of Henry Campbell, Violet’s initially charming date who finds himself unwittingly drawn into a deadly scenario. Sklenar, gaining recognition for his work in 1923 and It Ends with Us, brings an amiable presence to Henry. The supporting cast forms a gallery of potential culprits, adding layers to the “whodunit” aspect of the plot. Key figures include Violett Beane as Violet’s sister, Jen, whose safety becomes a primary concern; newcomer Jacob Robinson as the vulnerable son Toby; Reed Diamond as Richard, another diner enduring a seemingly bad date; Jeffery Self as Matt, the memorably outgoing and upbeat waiter; Gabrielle Ryan as Cara, the observant bartender; Ed Weeks as Phil, the unlucky pianist; and Travis Nelson as Connor. Other patrons, like a man persistently watching Violet’s table (Ben Pelletier), further populate the suspect pool.
Crafting Claustrophobia: Visuals, Sound, and Setting
The intense, suffocating atmosphere of Drop is meticulously crafted through its technical elements, working in concert to immerse the audience in Violet’s psychological state. Cinematographer Marc Spicer’s work is crucial in achieving this effect. The film leans heavily on close-ups, particularly on Meghann Fahy, keeping her emotional turmoil front and center and forging a strong connection between the protagonist and the viewer. This intimate focus is contrasted with wider shots capturing the restaurant’s sleek design and the glittering skyline outside, creating visual tension between the luxurious setting and the horror unfolding within. The strategic use of camera movement, including long takes to build suspense in quieter moments and quicker cuts during action sequences, further modulates the film’s rhythm and intensity. The film’s editing, handled by frequent Landon collaborator Ben Baudhuin, contributes significantly to the overall tone, praised for its sleekness during high-tension moments.
Sound design plays an equally vital role. Bear McCreary’s score, another regular Landon collaborator, is consistently noted for its effectiveness in amplifying the extreme tension and drawing the audience deeper into Violet’s terrifying experience. McCreary’s music underscores the mounting panic and the race-against-time nature of Violet’s predicament. A distinctive visual element is the film’s creative approach to displaying the menacing text messages. Instead of relying on static phone inserts or simple screen overlays, the texts are dynamically integrated into the restaurant environment, appearing on walls, tables, or even momentarily interacting with the characters. Finally, the physical setting itself is a key player. The production team built an elaborate, fully operational 12,000-square-foot restaurant set on soundstages in Ireland. This detailed environment, complete with real food and a bustling atmosphere, provides a convincing and visually rich backdrop for the contained thriller. Subtle design choices, like a hallway leading to the dining room described as resembling the “belly of a beast,” further enhance the symbolic weight and oppressive feel of the space.
Behind the Scenes: Blumhouse Meets Platinum Dunes
The screenplay for Drop was penned by the writing duo Jillian Jacobs and Chris Roach. This team had previously collaborated with Blumhouse on other genre projects, including Truth or Dare and Fantasy Island, indicating a familiarity with the production house’s brand of horror and thriller. The film’s production represents a significant collaboration between two major forces in contemporary genre filmmaking: Blumhouse Productions, led by Jason Blum, and Platinum Dunes, co-founded by Michael Bay and represented here by producers Bay, Brad Fuller, and Cameron Fuller. Sam Lerner served as an executive producer. This partnership brought together producers known for their successful work on The Purge franchise, signaling a potent combination of genre expertise. The project came together relatively quickly. Christopher Landon signed on to direct following his departure from Scream VII, providing him a swift return to directing within the genre. The script itself was brought to Platinum Dunes by producer Cameron Fuller.
Our Take
If you appreciate dynamic camera movements, slick editing effects, and a bit of technical showmanship, you’ll likely enjoy this quite a bit. If you prefer cinema focused more on character depth and performance… this might not be the film for you. However, both camps might agree on one thing: the ending may not satisfy everyone. Regardless, it’s an aesthetically pleasing and superbly directed film. Enjoy it.
