In the film “Drop,” directed by Christopher Landon, a resilient widow tentatively dips her toes back into dating, but finds herself ensnared in a chilling game of cat and mouse. Similar to movies such as “Phone Booth,” “Red Eye,” and more recently, “Carry-On,” this Blumhouse production, debuted at SXSW before hitting theaters in April, skillfully interweaves its gripping narrative with mounting and nerve-wracking suspense. The director’s knack for creating tension, coupled with a heartfelt romantic storyline and captivating performances from Meghann Fahy (“The White Lotus”) and Brandon Sklenar, make “Drop” an enjoyable popcorn movie.
Similar to its movie counterparts, the storyline of Drop centers around corrupt technology and shadowy, malicious figures. To fully appreciate it, I’d recommend approaching it with minimal prior knowledge. So, if you’re someone who values avoiding spoilers, now might be a good time to stop reading this review.
On her initial dinner date with Henry (Sklenar), a photographer she connected with via an app, Violet (Fahy) started getting bothersome messages, similar to AirDrop but called “digiDrops”. This is a fictional program that enables Apple users to share files with others nearby. Initially, Violet got peculiar memes prompting her to accept the unsolicited message. Henry suggested she ignore them, guessing it was probably a bunch of teenagers seated nearby playing a prank.
However, as the messages grow more menacing, Violet finds it increasingly difficult to disregard them. It isn’t long before she discerns that an unknown sender has taken her son Toby (Jack Robinson) captive. If Violet fails to comply with their demands, Toby’s life is at risk.
Prior to Violet encountering this distressing predicament, she was already an embodiment of restless tension. Landon sets up anticipation for this pivotal scene, initiating the movie Drop, by initially projecting romantic-comedy ideals. As the narrative unfolds, we observe Violet, nervously readying herself for a date with her sister Jen (Violett Beane), who has consented to look after Toby. This single mother, who is a counselor for victims of domestic violence, hasn’t experienced a romantic outing since her ex-spouse passed away. The relationship was abusive, and her sorrow carries complex emotions. Generally speaking, Drop sensitively addresses this aspect of the plot, although some critics found fault with a tense encounter during the climax.
When Violet gets to their appointed venue, a swanky eatery nestled in a lofty skyscraper in Chicago, she’s quite tense. She’s cycled through three different outfits and frets over missing Toby’s bedtime ritual. Henry, a photographer for the mayor, appears amiable, but she’s uneasy about making him wait three months for this dinner. A few meaningful exchanges help Violet relax: She encounters an elderly gentleman (Reed Diamond) also on his first date and strikes up a rapport with the friendly bartender (Gabrielle Ryan).
When Henry gets there, Violet appears noticeably more relaxed. The duo quickly find common ground – sharing their awkward moments and connecting through observing others. Fahy and Sklenar add authentic touches to their characters’ interactions, such as pauses and significant glances, which beautifully capture the charm of early romantic situations. Their server, played by Jeffrey Self (from ‘Search Party’), who is an aspiring comedian, adds a touch of clumsiness to his service, helping them feel less nervous. The cozy ambiance, enhanced by a friendly cinematography (courtesy of Marc Spicer as DP), makes the initial awkwardness seem less intense. This soothing setting creates a comfortable atmosphere, similar to the romantic encounter between Cillian Murphy and Rachel McAdams’ characters in ‘Red Eye’.
From the screenplay by Jillian Jacobs and Christopher Roach, Landon gradually ramps up tension from here on out. Closer shots, emphasizing the initial romanticism, transition to disquieting wide-angle close-ups and sweeping views that transform the luxurious restaurant into a gilded jail. The atmosphere grows increasingly confining as Landon superimposes Violet’s messages onto the screen. At times, this visual choice borders on being a trick, but it generally succeeds. Susie Cullen’s production design skillfully turns conventional signs of fine dining – windowless bathroom stalls, orange ambient lighting, and a stern staff – into unsettling nightmarish components.
In Drop, there’s a touch of over-the-top drama that can seem somewhat amusing at times. Yet, Fahy’s acting skillfully draws us in, making us believe in the sincerity of her performance. The actress portrays the awkwardness of a first date with as much intensity as the anxiety triggered by someone endangering her son’s life. Even when the plot becomes illogical, which it often does, Fahy skillfully crafts a character that we can both laugh with and cheer for.
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2025-03-10 23:54