‘Drop’ Review: Christopher Landon’s High-Concept Thriller Soars
Writer and director Christopher Landon is known for his smart, silly, and scary takes on horror subgenres, from his subversive slasher, Freaky, to his sweet take on the haunted house, We Have A Ghost. But with his latest film, Drop, Landon strays from the genre path into the world of high-concept action-thrillers. While still tapping into his horror roots to craft the film’s tension, Landon spreads his cinematic wings, working from a script by Jillian Jacobs and Chris Roach to create a deeply entertaining and surprisingly touching action experience about the world’s worst first date.
Meghann Fahy plays Violet, a widowed single mom who barely survived a physically and mentally abusive husband. Five years after his death, she’s still picking up the pieces, but has made massive strides in her recovery. She’s a therapist for those who have experienced domestic violence and has raised her son, Toby (Jacob Robinson), into a sweet five-year-old boy with a love of remote control cars. Now, she’s ready to take the next step into dating. With the help of her sister, Jen (Violett Beane), she slips into a sleek red jumpsuit and heads to the chic new restaurant, Palate, nestled at the top of a skyscraper, to meet her date, Henry (Brandon Sklenar).
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As Violet walks into Palette, the camera circles the beautifully designed restaurant, setting the stage for the looming action. She doesn’t know it yet, but every single employee and patron is a suspect, and the camera doesn’t let anyone escape from its ever-watching eye. Henry finally arrives a few minutes late, dazzling with his rugged handsomeness and camera bag slung over his shoulder. After a smile-filled first meeting, the two head to their table, ready to start their date in earnest.
But, before they can even order a glass of wine, Violet receives a Digi-Drop (essentially an AirDrop, but different, as is briefly explained in-world) telling her to kill Henry or they’ll kill her son. This first date goes from zero to 100 in the blink of an eye as Violet is trapped in a strange digital game of cat and mouse.
Fahy and Sklenar simply shine as two stereotypically attractive action-thriller leads with plenty of chemistry and dazzling smiles. Fahy imbues Violet with an empathetic anxiety as she tries to navigate dating as a widow with a son and a traumatic past. But that anxiety never becomes weakness as Fahy deftly handles Violet’s journey, which is more nuanced than expected for an action thriller like Drop.
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A film like this—with a story about a woman being forced to kill her date via a hyper-specific file-sharing feature—can easily devolve into parody, never taking itself seriously enough to sell the story. But between Landon’s direction and Jillian Jacobs and Chris Roach’s script, Drop becomes a surprisingly poignant thriller about a woman fighting for bodily autonomy. But it’s also just a twisty, silly blast that isn’t afraid to have a little fun.
The root of the film’s comedy is Jeffery Self, who plays Violet and Henry’s server, Matt. He’s the well-meaning goofball server who just wants to make it as a comedian in Chicago. Self perfectly breaks the film’s palpable tension, catching the viewer off guard in the best way with his awkward attempts at small talk.
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Even with a relatively restricted setting, Landon and cinematographer Marc Spicer use every inch of the restaurant to get creative angles and coverage to keep Drop visually interesting. Camera height is a crucial tool here in establishing power dynamics and building the film’s ever-present tension. Landon even goes back to his found footage past through repeated use of in-world security cameras, whether it’s through the app on Violet’s phone or at the hostess stand. It’s a smart way to expand the visual world and language of the film without having to leave the confines of Palate.
Landon’s latest directorial effort is a silly, fun time at the movies with a surprisingly emotional story about trying to pick up the pieces after enduring trauma. Fahy and Sklenar are movie stars, and I can’t wait to see what Self does next (please give him his own horror comedy!). It’s another genre-adjacent 2025 release that isn’t afraid to be a little silly and commits to being a ton of fun without needing to change the world with its message or approach. It’s a glorious piece of thrilling escapism guaranteed to satisfy any appetite.
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Drop
Summary
‘Drop’ is a good time at the movies, a fast-paced thriller with talented leads, an intriguing story, and sleek cinematography.
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