PG-13 | 1h 40m | Drama, Suspense, Thriller, Mystery, Action | 2025
Although not likely the first, Alfred Hitchcock’s “Dial M For Murder” was memorable by including a landline telephone as an integral ingredient into the narrative of the movie’s plot. This same device has continued for decades and had a major impact in the “Scream” franchise.
In “Drop,” a smartphone not only drives the narrative, it is the de facto lead character. No disrespect intended to Meghann Fahy (as Violet), but when Violet shares the screen with her phone, the latter gets all of the attention.
In the Dust
In all fairness to Fahy (“The White Lotus,” “The Perfect Couple”), this is the intent of director Christopher Landon (son of the late Michael Landon) and screenwriters Jillian Jacobs and Chris Roach.Modern communications technology advances at a far quicker clip than most users’ understanding of its capabilities. Since the advent of ChatGPT and the light speed of AI’s development, technology is overtaking people’s understanding of it, leaving them in the dust, wondering what hit them.
Violet is a widow and the single mother of a preschool son; she’s been reluctant to jump into the online singles dating pool. At the urging of her sister Jen (Violett Beane), Violet finally relents and connects with photographer Henry (Brandon Sklenar).
Time to Relax
When the big night finally arrives, Violet initially wears a dated, unflattering dress that Jen compares to something worn by hospital candy stripers. Jen gets her to relax a bit and change into something far more up-to-date and alluring without being suggestive or trampy.Violet arrives at the date far ahead of schedule at a swanky restaurant atop a swanky Chicago skyscraper. She exchanges small talk with a bartender, a lounge pianist, and another couple on their own first date. Together, these strangers spiritually join Jen, who is babysitting, into getting Violet to let her guard down. Henry arrives, and he and Violet are seated.
The chemistry between the pair is immediate and electric. Violet is finally at ease. Their “getting-to-know-you” phase is less meaningless small talk and more listening and learning about each other. It’s a great first face-to-face.
Then the Bottom Falls Out
Within a few minutes, Violet’s phone starts receiving multiple visual texts or, as the kids today refer to them, “drops.” At first, these messages are merely annoying; soon they grow increasingly threatening and ominous.Whoever is sending the texts knows Violet’s exact whereabouts by describing the surroundings and other people in the restaurant. They inform her that, if she doesn’t murder someone in the restaurant, persons unknown will invade her home and kill her son and Jen.
For reasons never fully explained (at least to my satisfaction), the sender of the texts is in the restaurant. This plot wrinkle works temporarily but has little staying power. There are only four viable villains (or five, if you count Henry, who is quickly ruled out as a suspect).
Still Some Suspense
The third act begins with the sender identifying himself or herself in person to Violet which, for someone who loves thrillers, is far too soon. The mystery is revealed and thus solved. This was a big narrative misstep.However, the filmmakers keep the suspense high by reminding us (and Violet) that the caller still has the power to push a button which could result in the death of her son and sister.
At this point the movie starts resembling “Die Hard.” You know the villain, you know the motive (which has not been revealed here), and the possible fallout scenarios. The only thing left to chance is the final outcome.
Despite these gaping holes in the plot, “Drop” is surprisingly entertaining. It’s not suspenseful or gripping, just entertaining in a popcorn movie sort of way. It’s Hitchcock-lite, in other words, Brian DePalma or Martin Scorsese by way of Michael Bay (also a producer here) or Brett Ratner.
It has its moments. Fahy is fantastic for the duration, but, in the end, it’s just slightly better than okay.
