Drop was perhaps one of the most crowd-pleasing films at the SXSW Film & TV Festival. It caused a plethora of fervent reactions — laughter, wild applause, and quite a few gasps and “ohs”. I was locked into the film from the start, with an opening scene that seemingly alludes to how Violet’s (Meghann Fahy) night will end before returning the day of the date with Henry (Brandon Sklenar). Director Christopher Landon, working from a script by Jillian Jacobs and Christopher Roach, has an instant hit on his hands with Drop.
The film is reminiscent of some of the best one-location films out there, including Red Eye and Phone Booth. But it’s perhaps a bit more intense because going on a first date is a stressful situation in and of itself; it’s also one we can all relate to. Violet’s anxiety is worse as a survivor of abuse. The idea of going on a date after so many years, and leaving her five-year-old son Toby (Jacob Robinson) for the night with her sister Jen (Violett Beane), has her on edge.
Henry seems like a nice guy, but what does she really know about this stranger? And after receiving drops to her phone — it starts with weird and unsettling memes before escalating to threatening texts — Violet wonders if he knows more about her than she thinks. However, everyone in the restaurant is a suspect and Violet is forced to make decisions under pressure or risk the lives of her son and sister.
Drop Perfectly Balances Intensity & Mystery
To say that Drop is intense is an understatement. The experience is like being on a rollercoaster ride that never really slows down. For the film to work, however, we need to suspend our disbelief about certain things — like how the threatening texter managed to set up the mics and additional cameras throughout the restaurant and other things I won’t spoil here — but Landon’s film moves so quickly that there’s no time to dwell on anything and we’re thankfully encouraged to be in the moment with Violet rather than in our heads.
Credit to the production for creating an open space that seems to shrink and become more sinister the longer the film goes on.
Despite its quick pace, however, Drop knows how to slow down in certain moments. Violet and Henry have some time to chat amidst the high-stakes situation (that Henry seemingly has no clue he’s living, only that Violet is acting strange), getting to the honesty and authenticity that got them chatting on the dating app to begin with. Violet is candid and vulnerable about aspects of her past, as the life-threatening circumstances she’s in elevate her already heightened emotions. Like the audience, Violet doesn’t have time to dwell; she has to be quick while pretending to have a good time.
The spacious restaurant becomes a cage she cannot escape and Landon and his team make good use of every corner of the location. The set, which was built for the film, is chic yet haunting, aesthetically beautiful but cold. Credit to the production for creating an open space that seems to shrink and become more sinister the longer the film goes on. Ben Baudhuin’s editing is sensational, cutting to well-placed flashbacks and Violet’s eyes darting around the room while the rest of the restaurant’s guests and staff carry on unaware. It adds to the anxiety Violet is feeling, as does Bear McCreary’s wonderful score.
Meghann Fahy & Brandon Sklenar Are Excellent
Fahy Is Especially Fantastic As The Film Rests On Her Shoulders
To buy into the whole premise, Fahy’s Violet had to be a well-developed character — and she is. From the start, we get a sense of who she is and that only evolves further as the film goes on and we learn what truly haunts her. I’m thrilled Fahy is getting more leading roles; she’s a skilled actress whose eyes and face are so expressive. Stuck in a restaurant and at a table with only the occasional movement from one area to another, Fahy had to primarily convey Violet’s entire emotional spectrum through facial expressions and intonation. She nails it at every turn.
The film rests firmly on her shoulders in terms of performance. She’s in every single frame and the pressure of pulling off a compelling portrayal while also working to get out of an awful situation is tough, but Fahy does all that and more. It’s impressive and she instantly makes Violet someone to root for and care about.
Fahy had to primarily convey Violet’s entire emotional spectrum through facial expressions and intonation. She nails it at every turn.
Sklenar gets less to do, but his character’s got his own stuff going on outside the restaurant that plays into the plot. The 1923 actor came off as a nice guy, but some moments caught us off-guard and made me wonder what else is there to him. Interestingly, the film subverts out expectations and the mystery of it all gives Sklenar’s performance a bit of an edge — at least up to a certain point.
Fahy and Sklenar are central to the narrative, but the supporting cast gets their moments to shine. Matt (Jeffery Self), the duo’s waiter, is hilarious and his moments of interaction with the couple bring levity to an otherwise intense film. Cara (Gabrielle Ryan), the bartender, is also fantastic, instantly forming a connection with Fahy that comes into play later.
Are there aspects of Drop that seem too convenient and outlandish? Yes. But that’s not worth discussing because the film’s thrills, performances, and pacing are just so good. It’s an exceptionally fun film that will play well with audiences. It’s the kind of film that not only makes for a great theatrical experience but will also make you want to watch it again immediately afterward to see what you missed the first time. I had a great time with it, that’s for sure.
Drop had its premiere at 2025 SXSW Film & TV Festival. The film will release in theaters on April 11.
Drop
8/10
- Release Date
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April 11, 2025