Drop premiered at the 2025 SXSW Film & TV Festival and is now in theaters.
Drop: A Riveting Thriller That Keeps You on the Edge. Drop crashed into theaters like a cinematic lightning bolt, sparking roars of laughter, thunderous applause, and gasps that echoed through the crowd. From its gut-punch opening, which teases the chaos awaiting Violet (Meghann Fahy) on her date with Henry (Brandon Sklenar), I was hooked. Director Christopher Landon, wielding a razor-sharp script by Jillian Jacobs and Christopher Roach, delivers a knockout thriller that’s destined to be a crowd favorite.
This film channels the claustrophobic brilliance of classics like Red Eye and Phone Booth, but cranks the tension higher with the nerve-shredding stakes of a first date. Violet, a survivor of abuse, is already a bundle of nerves leaving her son Toby (Jacob Robinson) with her sister Jen (Violett Beane) for the night.
The premise alone—navigating a date while haunted by past trauma—is relatable, but Drop dials it up with menacing texts and eerie memes flooding Violet’s phone, hinting that Henry, or someone in the restaurant, knows too much. Every diner becomes a potential threat, forcing Violet to outwit danger to protect her family.
Drop’s Relentless Suspense and Enigmatic Vibe
To call Drop intense is like calling a hurricane a breeze. It’s a non-stop thrill ride that grabs you by the throat and doesn’t let go. Sure, you’ll need to overlook some plot conveniences—like how the mysterious texter rigged the restaurant with mics and cameras (no spoilers!)—but Landon’s breakneck pacing leaves no room for nitpicking. You’re strapped in with Violet, living her panic, not overthinking the logistics.
The production deserves a standing ovation for transforming a sleek restaurant set into a suffocating trap. What starts as an open, stylish space grows more ominous, closing in like a vise. Ben Baudhuin’s editing is electrifying, weaving in flashbacks and Violet’s frantic glances while oblivious patrons dine on. Bear McCreary’s score is a pulse-pounding accomplice, amplifying every moment of dread.
Yet, Drop knows when to ease off the gas. Amid the chaos, Violet and Henry share raw, honest moments that reveal why they connected online. Violet’s vulnerability, heightened by the life-or-death stakes, cuts deep. The restaurant, built from scratch for the film, is both gorgeous and chilling—a perfect paradox of elegance and menace.
Meghann Fahy and Brandon Sklenar Steal the Show
Fahy’s Violet is the beating heart of Drop, and she carries the film with jaw-dropping skill. From the opening frame, her character is layered—a mother, a survivor, a woman daring to hope. Fahy’s expressive eyes and subtle vocal shifts convey Violet’s terror and resilience, anchoring every scene. Trapped at a table with limited movement, she uses every glance and inflection to paint Violet’s emotional turmoil. It’s a tour-de-force performance that makes you root for her survival.
Sklenar’s Henry is charming yet enigmatic, with just enough ambiguity to keep you guessing. His own offscreen drama ties into the plot, and Drop cleverly plays with our expectations, giving his performance a sharp edge. The supporting cast shines too—Jeffery Self’s waiter Matt brings much-needed humor, while Gabrielle Ryan’s bartender Cara forms a quick bond with Violet that pays off later.
Yes, some plot points stretch believability, but who cares when the thrills are this electrifying? Drop is pure, adrenaline-fueled fun—a film that demands to be seen on the big screen, then rewatched to catch every twist. It’s a wild ride I didn’t want to end.
Drop premiered at the 2025 SXSW Film & TV Festival and is now in theaters.
