Drop Review

Blumhouse and Platinum Dunes use the worst first date imaginable as the set-up for a tight thriller.

Violet Gates (Meghann Fahy) is a widowed, single mother and a survivor of domestic violence. She goes on her first date since her husband’s death, meeting Henry Campbell (Brandon Sklenar), a handsome photographer. However, when the date starts, Violet gets messages on her phone from a masked assailant threatening to kill her son unless she does exactly what she’s told.

Drop was directed by Christopher Landon, a man known for making horror comedies like Happy Death Day and Freaky, and he was set to direct Scream 7 until its highly publicised production issues. He made Drop after leaving the Scream 7 director’s chair. The marketing for Drop highlighted the horror credentials since the trailers mentioned Landon’s previous films, and Blumhouse and Platinum Dunes both have reputations for making horror films. This was misleading since Drop was a thriller.

Drop aimed to be a Hitchcockian/Angela Christie style thriller in the digital age. It was a locked room mystery where Violet was trapped in the restaurant, and she needed to figure out who was threatening her. The director and writer did an excellent job setting up the premise and the main suspects, and there was plenty of suspense due to the threat on Violet’s son. She had to investigate, using her wits and whatever resources she had at hand.

Drop was made on a tight budget of $11 million, and the filmmakers made the most of it. Landon ensured some flourishes made the film visually engaging. Text popped up on the screen as it orders Violet to do tasks and illegal acts. Information from Violet’s phone was also superimposed on the screen. One of my favourite moments was when Violet went into a toilet cubicle to look at her security camera feed, and her world was shattered. The final visual trick was the use of a spotlight to highlight certain characters during pivotal moments. Those moments made Drop feel like a stage play.

An issue with a thriller like this is the level of disbelief that can be required. As the film progressed, plausibility declined, and by the third act, the film became ridiculous. The villain needed to have as much planning and foresight as The Joker or Raoul Silva. Luckily, the ridiculousness did add to the film’s charm and ramped up the excitement factor. The plot can be picked apart easily if you want to pull at its threads.

Landon came from a horror-comedy background. He liked to mash up genres, like a body-swap plot with a slasher film. Drop was his most serious and straight-laced film so far. It does have a dire situation and touched on some serious issues. Although the film did have some comic relief through the character of Matt (Jeffrey Self), a waiter on his first shift who was well-meaning but a bit cringy.

Drop also attempted to have a serious theme about domestic violence. The film opens with the aftermath of an attack, and Violet’s experience gave her drive. She wanted to help out other victims, and she had many reasons to be hesitant to go on a date. The date forced Violet to relive her experience as she tried to find a way to call for help without arousing suspicion. She was forced to put on a brave face to hide the real situation. Some characters did notice Violet’s behaviour became more erratic and showed their concern. It added a layer to the film since some characters had their own experience and training, so they noticed the signs.

Drop was, at times, a silly film, but it overcame these issues through its stylish presentation and willingness to look at some serious issues.