A high-stakes dinner date thriller with Hitchcockian heart, Drop released earlier this year, and was a relatively modest success. Off a budget of $11 million, Christopher Landon’s latest grossed $28.5 million worldwide. A film’s staying power goes far beyond money, and this one’s a keeper. A date too good to be true quickly goes sour as one woman fights a battle of wits against an unseen, tech-based foe. If the premise appears simple, that is very much by design. Landon carries out strokes of style that elevate far beyond what appears on paper. The chemistry between leads Meghann Fahy and Brandon Sklenar make the romance at the core that much more believable. Rich character work and a unique restaurant setting notably built from the ground up—a 12,000 square foot space—help to supercharge Landon’s love letter to the 90s thriller in Drop.
Violet (Fahy, The White Lotus, The Bold Type), a trauma counselor and single mom, tries dipping a toe back into dating with charming, camera-toting Henry (Sklenar, 1923, Midway). As we glimpse in the cold open, Violet’s past is haunted by the spectre of an abusive ex-boyfriend. Violet leaves behind her son, Toby (Irish TikToker Jacob Robinson), with her sister (Violett Beane, Truth or Dare, The Flash), finally allowing herself a night of fun to get her mind off the worst case scenario. She arrives at the massive high rise restaurant, the Palate, with the hopes of connecting to Henry accompanied by a beautiful view of the city near their table.
Violet and Henry’s rooftop dinner is quickly upended when the strange airdrops that have been plaguing Violet’s night escalate into dark territory. Whoever sends them suddenly makes very real threats, splashed vibrantly across the screen. They threaten to kill Toby if Violet does not comply with their demands. Landon displays these messages in a way that feels dynamic rather than constraining, wisely avoiding spending the duration of Drop hooked to Violet’s phone screen. The sprawling nature of the restaurant allows plenty of room to play, both from a script and a visual level. Side characters make for perfect suspects, including a vapid, handsome man glued to his phone, a nervous old man on a date, a too-enthusiastic waiter on his first shift, and a flirtatious piano player.
What follows is a tense psychological cat-and-mouse game, confined mostly to one location and powered by Violet’s desperation. The drops aren’t just memes: they are warnings, instructions, and threats. Her every move is monitored, observed by various pieces of tech planted throughout the restaurant. As we follow Violet down a rabbit hole of intrigue, she inches closer to understanding the full range of her mysterious blackmailer. Meanwhile, Henry, instead of being put off by Violet’s constant distractions, actually comes across as the ultimate good guy.
Immersive sound design and an impressive control over the visual language of Drop makes it into a full-on experience that was (thankfully) not entirely ruined by the spoilery trailer. Skilled composer Bear McCreary returns for a memorable score, a constant Landon collaborator. Dutch angles evoke Hitchcock, whilst the propulsive finale has that perfect 90s thriller vibe. Rewatching from home, I had all but forgotten about the PG-13 rating. The action, especially that brutal climax, feels every bit as visceral as it should, given that Violet’s trauma is a vital ingredient in the story. For both their parts, Fahy and Sklenar are downright adorable together. The more danger that seeps into their situation, the harder it feels to imagine them both emerging alive. Fahy’s Violet, a fiercely protective mother, gets given great texture by the actress and her well-written character.
In 4K, Drop looks just as impressive as it did on the big screen. The disc comes with a Digital Copy for redemption on any digital platforms, as well as a gaggle of special features. Three featurettes highlight the production, including the building of the focal point: the Palete restaurant set. A director’s commentary from Landon constantly makes great observations, and shares behind-the-scenes stories, such as Sklenar’s obsession with the Kobe steaks at Palete that were actually prepared and served up by a real chef. Landon also gives high praise to Dublin, Ireland, where this was shot, and praises the overall beauty of that country. One thing that struck me about Landon’s insightful track is his love for moviemaking. He oversaw all elements of production, but he points out fun facts and and constantly lifts up his cast and crew without sounding cocky. The familial bonds formed when making a movie are clearly not lost on the young director, whose body of work thus far (Happy Death Day, Freaky) seems all the more impressive in hindsight. It probably helps that Landon has a very rich and comforting voice.
A slick thriller that weaponizes our dependence on technology and fear of surveillance, Drop exceeds expectation to become one of the best movies of the year. The stylish direction, stunning character work, and unique restaurant setting are truly impressive. Together, Brandon and Meghann bring a grounded intimacy to their roles that makes it go down easy. A semi-sweet romance and a disturbing nail-biter rolled into one compact package, Drop suggests great things await fans of Christopher Landon as he continues making movies that will stand the test of time.
Brace for the ultimate Drop, now on 4K Blu-Ray wherever physical media is sold.
