Synopsis: Emmy nominee Meghann Fahy, breakout star of White Lotus and The Perfect Couple, plays Violet, a widowed mother on her first date in years, who arrives at an upscale restaurant where she is relieved that her date, Henry (It Ends with Us’ Brandon Sklenar) is more charming and handsome than she expected. But their chemistry begins to curdle as Violet begins being irritated and then terrorized by a series of anonymous drops to her phone.

If you feel something is amiss, it probably is. Over the past few years, the topic of red and green flags has permeated the discussions surrounding dating and relationships. Green flags are positive qualities and naturally, red ones are negative. Interestingly enough, despite all the podcasts, videos, and social media posts, our lust and hubris occasionally lead us astray as we ignore all the warnings and allow a beautiful hurricane to wreak havoc on our lives. You don’t realize you’re your own red flag as you assume you can change the weather… again. As the saying goes, “trust your gut” because it’s better to be safe than sorry. Take your time and listen to your intuition, it’ll happen when the time is right.

“It’s just a date.”

Our parents were right, you shouldn’t talk to strangers. However, in the age of endless dating apps and intrusive technology, everyone is a stranger and you will definitely want to hit accept on this drop notification. Directed by Christopher Landon, Drop is an insidious adrenaline rush. Co-written by Jillian Jacobs and Chris Roach, this thrilling whodunit is exhilarating from start to finish. With its strong performances, striking and expressive cinematography, tense score, and the most satisfying conclusion of the year, this is a worthwhile theater experience. Not only does it exceed expectations but it’s cinematically reinvigorating.

Initially resembling Carry-On, the two films are actually miles apart in execution and intent. Where the Netflix film is almost all sensation and no substance, this Blumhouse and Platinum Dunes-produced thriller is an allegory for overcoming domestic abuse as well as its lasting effects. On its surface, it’s explored through flashbacks and conversation, artistically, it’s done through camerawork and physical performance. There are even moments when it feels as if Drop could be a companion film to 2022’s Men. The fear and danger are more profound than the threatening airdrops invading Violet’s phone. As it explores and induces more trauma in our protagonist and her date, Henry, the story highlights the lengths we’ll go to protect our children. Draped in conspiracy, everyone is a suspect and with each alert, the situation gets worse. But why now and why Violet? But if she doesn’t play along, her son won’t see tomorrow.

“Abusers take hope away.”

Drop does exactly what it sets out to do. It continuously excites you, keeping you guessing while forcing you to the edge of your seat. It’s a crowd-pleaser that will rouse even the most critical cinephile. The film’s use of technology is oddly grounded and immensely terrifying. Its score heightens each butt-clinching fervent moment. The writing is clever, relevant, and accessible. Furthermore, it’s simply an enjoyable experience. With films such as Jaws, It, and Final Destination forever augmenting our perception and interactions with sharks, clowns, and the world around us, respectively, after witnessing Drop, you may never look at airdrops the same way again. You know what? Just turn off your Bluetooth. Drop is best experienced in a theater with as many people as possible. Its rewatchability is high.

A man in a brown shirt looks toward the camera, with a woman in a white shirt and a blurred background of a bar with glowing lights. — (from left) Cara (Gabrielle Ryan) and Henry (Brandon Sklenar) in Drop, directed by Christopher Landon. © 2025 Universal Studios. All Rights Reserved. Photo Credit: Universal Pictures

Pace & Pop

With a script that’s a nail-biter and tension that grows by the minute, you want a pace that reflects that and this film gets it right. Quickly setting up some traumatic backstory, the film keeps its foot on the gas pedal until the methodical chaos is over. What popped for me was the unpredictable nature of what unfolds. The story is crafted in such a way that you won’t know exactly what’s going on until it is revealed. I thought I had it figured out at least three times and was completely wrong, it was refreshing.

A person pulls another's arm inside a dimly lit room with modern decor and spherical lights. — (from left) Violet (Meghann Fahy) and Henry (Brandon Sklenar) in Drop, directed by Christopher Landon. © 2025 Universal Studios. All Rights Reserved. Photo Credit: Universal Pictures

Characters & Chemistry

Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan, Jeffery Self, Ed Weeks, Travis Nelson

While mystery keeps this story exciting and interesting, it’s the performances that keep it afloat. Plagued by past trauma and harboring a myriad of trust issues, Meghann Fahy truly brings Violet to life. From the pitch changes in her voice, and unassuming panicked glances, to her body language, Fahy perfectly balances hope and hurt. Brandon Sklenar‘s Henry has to be the most patient person or one of the most sensitive and intuitive to stick around for the date from hell. Shrouded in mystery, you wonder; is he desperate or hiding something? Either way, he’s going to gain some fans. Speaking of gaining fans, Jeffrey Self has a standout performance as he cuts through tension and awkward moments by making them hilariously more uncomfortable. His comedic timing rests comfortably adjacent to the lingering grim conundrum.

Drop hits theaters on April 11, 2025. Stay safe and shoutout to Toby.

Rated: R Runtime: 1h 40m Director: Christopher Landon Writers: Jillian Jacobs & Chris Roach Producers: Michael Bay, Jason Blum, Brad Fuller, Cameron Fuller Executive Producers: Sam Lerner