Exploring Christopher Landon’s *Drop*: A Thrilling Dating Experience Turned Nightmare
In *Drop*, directed by Christopher Landon, a determined widowed mother reinvents her romantic life, only to find herself ensnared in a chilling game of cat and mouse. With a blend of suspense and romance, along with standout performances by Meghann Fahy (known for *The White Lotus*) and Brandon Sklenar, this film solidifies its place as an entertaining popcorn flick.
The film’s intriguing premise hinges on compromised technology and anonymous, sinister figures. For those who prefer experiencing it without prior knowledge, it’s advisable to pause your reading here.
A Date Turned Hostage Situation
The tension escalates during a first date dinner between Violet (Fahy) and Henry (Sklenar), a photographer she met through a dating app. As they begin their evening, Violet is bombarded with peculiar “digiDrops” from an unidentified sender. This fictional app mirrors Apple’s AirDrop, which facilitates file transfer between nearby users. Initially, these messages consist of strange memes that tease Violet, prompting Henry to suggest they are just playful pranks from nearby teens.
However, the tone quickly shifts as the messages grow more aggressive, leading Violet to a shocking realization: the unknown sender has kidnapped her son, Toby (Jack Robinson). She faces an unbearable choice: comply with the sender’s demands or risk her son’s life.
From Romantic Comedy to Edge-of-Your-Seat Thriller
Even before Violet confronts this harrowing ultimatum, her anxiety is palpable. Landon crafts suspense by initially presenting *Drop* with romantic-comedy elements. Viewers witness Violet’s jitters as she prepares for her date, with her sister Jen (Violett Beane) agreeing to look after Toby. As a therapist specializing in domestic violence, Violet’s past weighs heavily on her, marked by the complexities of grief and past trauma. Though largely handled with sensitivity, the film’s latter confrontation may leave some viewers uncomfortable.
A Nervous Countdown to Connection
Upon her arrival at a chic restaurant nestled in a Chicago high-rise, Violet’s nerves are fraying. After multiple outfit changes and fretting over missing Toby’s bedtime, she meets Henry, a seemingly charming photographer for the mayor’s office. The dynamic unfolds with awkward yet relatable interactions that help ease her tension. A chance encounter with an older diner (Reed Diamond) on his first date and a friendly bartender (Gabrielle Ryan) provide moments of levity in what becomes a high-stakes evening.
As Henry arrives, a sense of relief washes over Violet, allowing for a genuine connection. Their conversations, full of shared awkwardness and laughter, bring warmth to their encounter. The waiter, played by Jeffrey Self from *Search Party*, adds a comic flair that helps dissipate the tension, creating an inviting backdrop that initially masks the film’s more menacing elements.
The Shift from Romantic Tension to Psychological Horror
Landon, alongside screenwriters Jillian Jacobs and Christopher Roach, skillfully ramps up the suspense. Intimate camera work that captures the budding romance soon gives way to unsettling wide-angle shots, transforming the upscale eatery into a gilded trap. The film’s claustrophobic feel intensifies as Violet’s incoming messages overlay the visuals, a stylistic choice that teeters on the edge of gimmick but largely enhances the experience. Susie Cullen’s production design cleverly reinterprets traditional fine-dining aesthetics into disturbing symbols of entrapment, from windowless bathrooms to oppressive lighting.
A Campy Yet Compelling Drama
Despite a certain campiness permeating *Drop*, Fahy’s portrayal grounds the narrative. She embodies both the awkwardness of a first date and the desperation of a mother facing insurmountable odds, making her character relatable. Even as the plot occasionally strays into the absurd, Fahy’s performance invites the audience to support and empathize with her journey.