What would you consider to be more nerve-wracking: a first date or an unsolicited airdrop request? Depending on who you are, the burden of both could be on equal footing. Christopher Landon’s “Drop” certainly takes advantage of these two fears in a quick-moving, potential date-night-gone-wrong thriller. A single mother named Violet (Meghann Fahy) prepares to go on her first outing with photographer Henry (Brandon Sklenar). They met through a dating app, and there’s a natural inclination for optimism — even if it’s been a couple of years since Violet has entertained the possibility of romance walking back into her life. But before you settle into this fun, tension-filled cat-and-mouse game, the film hits you with a realization that it works with more than just a suspenseful night on the town.
The prologue of “Drop” introduces Violet from a very different and heartwrenching aspect of her past life. Not only has it been a while since she’s been on the dating scene, but at one point, Violet had an abusive ex-husband named Toby (Jacob Robinson). It’s interesting how Landon chooses a rather upsetting instance (probably one of many) as an entry point to this film. As you go on, “Drop” uncouples a potential choice (or non-choice) Violet makes to set herself and young son Toby (Jacob Robinson) free from a place of unrelenting despair. This trauma reverberates throughout the film in both small and large ways.
(from left) Henry (Brandon Sklenar) and Violet (Meghann Fahy) in Drop, directed by Christopher Landon.
Violet agrees to meet Henry at an upscale Chicago restaurant. While he’s running a few minutes late, she makes an acquaintance with a bartender named Cara (Gabrielle Ryan Spring) and an older nervous man Richard (Reed Diamond) hoping he doesn’t screw up his blind date. Once Henry arrives, everything seems hunky dory. The packed restaurant is buzzing, the piano player jokingly plays “Baby Shark,” and waiter Matt (Jeffery Self) makes one of his many funny stops at their table. That’s until Violet stares, receiving air drops to her phone through a ” DigiDrop app.” Are they just annoying memes? At first, it seems so. But that’s when things take a turn for the worse. Not only do the messages get more threatening, whoever is on the receiving end is close by and has sent someone to kidnap Toby and Violet’s sister, Jen (Violett Beane).
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It’s a conundrum because Violet can’t tell Henry or anybody else about what’s happening and cannot pinpoint this tormentor. Honestly, this ties neatly into her overall story of being a survivor of physical abuse, and that trauma rightfully looking through people’s stated intentions. It’s clear that Violet and Henry like one another, and writers Jillian Jacobs and Chris Roach cleverly use this setup to not shortchange Violet’s history. As she mentions in a bit of a dialogue, Violet has had to portray someone else to ensure her own survival. That’s a staunch reality many women have to face within uncomfortable interactions with men and the anxiety that comes with diving into the endless disappointment of apps.
Landon utilizes several style choices that interweave the digital world into what’s happening on screen. The correct choice was to keep “Drop” centered around Fahy and Violet’s story. To Fahy’s credit, she always keeps the film engaging — displaying a wide range of emotions that make you want to root for her character. Living to fight another day is Violet’s standard setting. Having somebody like Henry come and take that moment of eventual redemption from her wouldn’t have been right. Thankfully, “Drop” doesn’t allow this to happen, but the film has a couple of shortcomings. The ultimate reveal and method behind it is a bit underwhelming as it tries to integrate a side plot to elevate a character’s importance.
“Drop” mixes all of Landon’s hallmarks within his seven prior films, including humor, action, and an ever-evolving mystery. But one theme doesn’t outrun the other or overtake the spotlight completely. If anything, the film acts like an enjoyable night on the town that knows you have an early morning ahead.
Drop premiered at the 2025 SXSW Film & TV Festival and will be released in theaters on Friday, April 11.
