Drop

Director: Christopher Landon
Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan, Jeffery Self, Ed Weeks, Benjamin Pelletier, Travis Nelson, Michael Shea
Running Time: 95 min.
Rating: PG-13

★★★ (out of ★★★★) 

A woman experiences the date from hell in Christopher Landon's tense cyber thriller, Drop, which falls into a similar category as Phone Booth, Cellular or even the recent Carry-On. That it comes from the filmmaker behind Happy Death Day and Freaky should help prepare you for a clever premise filled with wildly entertaining twists, though with a slightly less humorous approach this time around. And that's not necessarily a negative, as writers Jillian Jacobs and Chris Roach script cover all their bases with increasingly creative uses of modern technology and an idea that, at just over ninety minutes, doesn't overstay its welcome. 

Providing its fair share of obstacles for the traumatized heroine, she fights an unknown oppressor after having recently survived abuse and attempted murder in her own troubled marriage. While a solid showcase for an actress gaining significant traction of late, the bigger headline is this bizarre date, which through no fault of the character's own, paints her as a total mess to everyone but us, who know better. With every vibration of the phone come a new potential catastrophe, forcing her to silently comply or face the consequences.  

Widowed single mother and therapist Violet Gates (Meghann Fahy) has just jumped back into the dating pool after the death of her violently abusive husband Blake (Michael Shea). Leaving her young son Toby (Jacob Robinson) in the care of sister Jen (Violett Beane) at home, Violet prepares to meet photographer Henry Campbell (Brandon Sklenar) for dinner at a high-rise Chicago restaurant after they connected on a dating app. Already extremely nervous about the date and being separated from Toby, she starts receiving a series of anonymous "digi-drops" on her phone from an unknown user in the restaurant. 

As the memes turn more threatening, a concerned Henry tries to help, combing the area to locate the perpetrator. But when the mystery user alerts Violet to check her home security app, she sees a masked intruder has broken in, targeting Toby and Jen. With the table bugged and Henry growing suspicious of Violet's anxiety, she struggles to keep her composure and quietly follow instructions. Blackmailed into completing a dangerous task by the end of the date, she'll have to extend their meal long enough to pull off the unthinkable, as her family's lives hang in the balance. 

The first thoughts of anyone watching will be that Henry has the patience and understanding of a saint. In fact, he's so tolerant of Violet's apparent breakdown she can't help but be impressed by his chivalry even in the midst of being texted deadly threats. Outwardly cool and laid back, he knows something's very wrong by just the sheer number of times she checks her phone and leaves the table. And while he's not sure exactly what, it's surprising he cares enough to stay and find out.  

Of course, the bigger reason Henry doesn't leave is that Violet can't let him, as his continued presence isn't only imperative to the assignment, but potentially her only lifeline left. With son and sister held hostage at home, she's implicitly ordered not to seek help or attract suspicion, kicking the plot into overdrive. This works on a number of different levels, paving the way for some suspenseful visual storytelling when Violet attempts to identify the sadistic user while under constant surveillance. But she also has some tricks up her sleeve to keep this date going and avoid committing the heinous crime that's demanded of her. 

It's a lot, but Landon streamlines these proceedings pretty well, with the restaurant's layout and atmosphere only enhancing the action. Featuring a main course of murder with its side order of mind games, it's also a safe bet this isn't taking place in an extreme high-rise building for nothing, as we suspect it'll eventually factor in. Violet's history with her deceased and abusive husband also plays a major role, allowing the mysterious antagonist to exploit her emotional baggage as a manipulative tool. Frequent flashbacks to her volatile marriage aren't completely necessary, but do add an extra wrinkle to the character, helping explain her fragile mindset going in. 

Acing her first real test as a feature lead after gaining attention on The White Lotus, a formidable Meghann Fahy brings necessary gravitas to her role as this PTSD-striken single mom caught in a no-win situation. What's interesting is how much of her dialogue consists of awkward date small talk, with the caveat being this silent battle she's simultaneously waging at the table as threatening texts splash across the screen. 

Brandon Sklenar plays a part vaguely similar to his brooding everyman in It Ends with Us, conveying the impression Henry's intrigued by Violet because of her past rather than despite it. The pair also share a sufficient amount of chemistry, which comes as a relief since we're spending the entirety of the film's running length in their company. For Violet, big question isn't whether he's too good to be true, but if it's worth the risk letting him in on what's happening given the stakes.  

Between chatty waiters, concerned bartenders and shady patrons, much of the film relies on the big reveal as suspects narrow and a cornered Violet makes her final, desperate move with the clock rapidly running down. Once the cards are laid out, it's an excitingly ridiculous finale, regardless of whether you see it coming or not. And like all successful single location thrillers, Drop walks the line of implausibility, throwing in enough distractions for us to surrender to the lunacy. But by putting its own spin on a somewhat familiar scenario, it also gives viewers good reason to feel satisfied they've seen an tidy, efficient effort more creative than most.