Drop (2025) Delivers Suspense, but Stumbles into Familiar Territory

You seem very on edge this evening.

Drop arrived in theaters in 2025. Margot, a widowed mother, goes on the first date she’s had in years. To make the nerves worse, the evening takes a terrifying turn when an anonymous caller bombards her with threatening messages.

First dates are already stressful enough, but when you add a hostage situation like in Drop, it’s no longer relaxing. Just like the plot, the movie makes you feel the tension, wondering how she’ll escape. The first act is set up well, but the second half doesn’t quite stick the landing.

Meghann Fahy is fantastic as Drop’s leading lady, Margot. You may have seen Fahy in other media like Netflix’s The Perfect Couple and HBO’s The White Lotus. For Drop, Fahy had to remain panicked, which is not an easy endeavor. She navigates panic, paranoia, and resourcefulness.

Fahy remarked that playing Margot was an enjoyable and intense time, challenging her emotional performance. Margot doesn’t stop at anything to escape her anonymous attacker, using every resource she has, including prior knowledge. She becomes more confident.

The film has several supporting roles, crediting Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan Spring, Jeffrey Self, and Ed Weeks. The Best Supporting Character award goes to the overly enthusiastic waiter named Matt (Jeffrey Self).

I had my eyes on Violet’s date, Henry (Sklenar), not because of his charming demeanor, but because anyone is a suspect in a film like this. Henry is patient with Violet’s abrupt behavior, accommodating her needs. I lost count of how many times one of them leaves the table.

You know it’s a Christopher Landon film based on his trademark campy style and character dynamics. My favorite films directed by Landon are Happy Death Day and Freaky. He has a knack for the thriller genre, but puts his own spin on things. He adds more personal layers to his stories.

Landon worked closely with Fahy, especially on a serious storyline that involves abuse. As Fahy said, they had conversations with people who had undergone similar experiences. This helped translate an honest portrayal.

Landon’s direction is inventive throughout, leaning into visual storytelling. As for the technical elements, cinematographer Marc Spicer mirrors the tension with tight-knit shots and clever use of lighting. He also instills creative visual graphics of the threatening texts that Violet gets.

What looks to be the skyline of Chicago is actually Ireland. Drop was primarily filmed in Dublin, Ireland, with Ardmore Studios playing as interior shots. The location is an important part of the film. This restaurant is beautiful with a grand atmosphere, but not with a thriller situation going on.

Production designer Susie Cullen created the upscale Chicago restaurant. They wanted to make the space a genuine restaurant, so real food was served.

Drop is a nerve-wracking thriller. To relieve audiences of the tension, Landon has funny moments with his trademark comedy. One line flooded with irony made my friends and me laugh out loud.

Phones are reliable, but they make things worse in a heartbeat with one little text. You never know who can get hold of your personal information.

The film falters in the third act. Drop begins with a blend of personal tension and unpredictability, but descends into something we’ve seen before. Drop reminded me of Red Eye (2005). Without spoiling anything, Drop should have remained in its setting and become over-the-top.

The theater makes a great viewing experience for Drop. Although it draws on typical thriller tropes, Drop is still a tense watch that is worth seeing.