Drop (2025) is directed by Christopher Landon and written by Jillian Jacobs & Chris Roach. It stars Meghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan, Jeffery Self, Ed Weeks, Ben Pelletier, Travis Nelson, Fiona Browne, and Michael Shea. The story revolves around Violet (Fahy), a single mother still recovering from an abusive past relationship. After accepting a date from her dream guy, the handsome and charismatic Henry (Sklenar), Violet feels like she might finally be able to move on. Unfortunately, as soon as the date begins, Violet starts receiving mysterious airdrop messages that reveal her son has been taken hostage, and the only way for her to save him is to poison and kill Henry. Forced into a deadly game of cat & mouse, Violet must rely on simple ingenuity to not only save her son, but hopefully her date as well. 

    With a very contained premise such as this, the film relies heavily on the performances of its two leads, but more specifically, the strength of their romantic connection. From the moment these two meet, they feel perfect for one another despite their unintentionally awkward interactions. Fahy and Sklenar create some great natural chemistry, but the real reason their connection works is the script. First dates aren’t easy, and the script isn’t afraid to explore all the miscommunications and misunderstandings that come along with it. This could result in an awkward watch, but the script makes sure that a triumph follows each dating blunder. First dates especially are almost never perfect in the way we imagine, so it’s nice that the script realizes that even top-notch first dates have their rough edges too. In other words, it’s easier to believe their connection when the date itself plays out in an authentic way. Even once Violet’s only goal becomes saving her son, her strange actions also reflect/double as the common ways people often ruin a first date. This allows the film to work extremely well on two different levels without one diminishing the other. Whether it’s surface-level thrills or more contemplative ideas on the realities of dating, the script delivers. 

Sklenar is charismatic and likable, but Fahy is the one who steals the show. Violet is a character we’ve seen countless times before (especially in films such as this), but she works because Fahy is able to convey each of her shifting emotions in a powerful way. It’s even more impressive when considering that the performance is often layered. Her character not only has to act happy, scared, etc., but also has to fake those emotions to other characters. For example, she has to fake being happy with Henry while simultaneously conveying the internal fear that her son could be killed at any moment. The real test of a great performer is how well they can play a character who’s acting, and Fahy passes with flying colors. 

Yes, the premise is somewhat convoluted and requires the viewer to suspend a certain level of disbelief, but because the script is so fast-paced, these elements are easy to forgive and/or forget. The movie is clearly about having a good time, and when considering that reality isn’t always the biggest source of fun, I actually appreciate the choice to stretch the reality’s authenticity. At a tight 100 minutes, the film also feels ideally paced. Right as the premise starts to feel a bit stale, the film wraps up with a quick, yet fully satisfying climax. This isn’t the most intelligent or original material, but when it’s this well-directed, it’s irresistible entertainment. 

The only thing that holds the film back is that it feels like it’s covered in the fingerprints of Blumhouse producers. The dialogue forcibly implements youthful slang in a way that feels inappropriate for the characters, but the worst part is that it feels like the studio forced the story to end in the most happy, predictable, and therefore meaningless way possible. I’m sure it will please most casual audiences, but it will feel lacking to anyone who desires some kind of overarching theme or lesson. 

Overall, this isn’t a particularly deep or intelligent thriller, but it is endlessly entertaining in a “popcorn flick” kind of way. Plot hole enthusiasts will have a field day with this one, but my rebuttal to those people would be that there’s not a single hole that isn’t totally necessary for the premise to exist/play out. I won’t deny that plot holes are usually something that hurts a film, but like all storytelling “tools”, they can elevate a film if used correctly. It’s a cheesy experience through and through, but like a really good nacho cheese, you can help but dip into it again and again. There’s not much to analyze, but it’s a great time at the movies that not only delivers, but also improves upon exactly what its marketing promised. B