‘Drop’ Builds Roller Coaster Suspense Out of Classic Paranoia and Meghann Fahy’s Charm

Alci Rengifo

Christopher Landon’s “Drop” feels like the kind of thriller they used to make where the suspense builds out of the presence of its stars, no matter how wacky the premise gets. In fact, the near-absurdism of the plot is almost the point. This movie is making us believe it is possible. Another key component is style, which Landon has plenty of in the casting, locale and look. Ultimately, the real charge of this movie rests on Meghann Fahy as the lead in the crisis. She looks like a movie star but has enough grounded charm to keep us caring. Brandon Sklenar also looks made for movies, but is clearly having fun with his own cliché turn here. 

Fahy is Violet, a single mother in Chicago who survived an abusive marriage. Her husband now dead, Violet feels it might be the time to try dating again. After meeting Henry (Sklenar) on a dating app, the two agree to a first outing at a fancy high rise restaurant, Palate. After a nervous bit waiting for Henry to arrive, their date kicks off seemingly normal. He is a professional photographer working for the mayor’s office and has a mature kind of air. Then, Violet begins to receive strange “drops” on her phone with cryptic messages. They soon enough become very menacing. Eventually they escalate to threatening Violet’s young song, Toby (Jacob Robinson) and revealing a masked intruder has entered her house, ready to kill sister and babysitter Jen (Violett Beane). While trying to keep this all secret from Henry, Violet receives further instructions to carry out a specific deed before the night is over.

Thrillers must always find a way to incorporate the technology of any given era. Remember past popcorn escapes like Joel Schumacher’s 2003 “Phone Booth,” featuring Colin Farrell entrapped by a sniper in one of the last movies of its kind before cell phones truly became the universal norm. Jillian Jacobs and Chris Roach’s script for “Drop” ingeniously entraps Violet via text by having her attacker send specific threats, warning her she is being watched, feeling ahead of her every move. This combines with more classic thriller elements, like having various characters introduced from an overly jolly waiter to a rather cold hostess. Could they be in on the plot? What about the house pianist with the air of a creep? Part of the ride is the mental ping pong that goes on every time Violet’s phone buzzes. Landon’s other films include the absurdly fun “Happy Death Day” and “Freaky,” which have the same capacity to suspend disbelief as this one. Henry must be a nice person considering all the clear signals that Violet is being distracted by something crazy, and yet he somehow goes along with her excuses, and later her odd request to order tequila shots.

Like the two “Happy Death Day” movies, this one is another strong female lead who is in peril without becoming a cliché damsel in distress. Fahy, till now best known for her role in season two of HBO’s “The White Lotus,” tackles situations that would be hard to believe with a weaker actor by making us believe the wheels are turning in her head. She’s not a victim but a survivor now attempting to outsmart a new threat. There is genuine emotional tension in her delivery expertly mixed with dark comedy. Sklenar also has perfect comedic timing, making use of his rugged demeanor for the drier one-liners. They’re perfectly matched along with the colorful supporting cast. The restaurant itself becomes a character, feeling fancy but claustrophobic. It makes you miss the days of directors like Brian De Palma, who would have taken a plot like this even further. No matter, it’s suspenseful enough to watch Violet to carry out the wrenching tasks her stalker demands. 

One of the producers is action guru Michael Bay, which might explain why the third act does away with puzzles and psychological tension for an action blow out that inspires more laughs than gasps. Yet, with this director that is part of the fun. When we discover what Violet’s intended mission from her stalker really is, we want to ask the villain if there wasn’t an easier way to do this than such an elaborate scheme, but then there wouldn’t be a movie. With so many over-bloated wannabe blockbusters, failed remakes and half-formed stabs at originality, the standard Friday night escapism of “Drop” feels like a return to basics. It doesn’t want us to overthink but just go along for the ride.

“Drop” releases April 11 in theaters nationwide.