‘Drop’ Review: Christopher Landon’s High Rise Thriller With High Expectations

Christopher Landon, best known for his quirky slashers Freaky and the Happy Death Day duology, and hot off his departure from the Scream franchise after a media circus that marked the exit of multiple main cast members and initiated a reboot of the 7th film, is back with his newest feature Drop. Energetic, visually striking and fun as we’ve come to expect from Landon, Drop was a very surprising highlight from SXSW for me as I went in with no knowledge or expectations. Read our full Drop review below.

The film follows Violet (Meghann Fahy), a single mother, widow, and recovering victim of domestic violence as she navigates trying to get back into the dating pool. After much reluctance and efforts to back out, Violet agrees to a date with Henry (Brandon Sklenar) at a high-end skyline restaurant and leaves her young son Toby with her sister Jen at home. After some odd encounters with other guests at the restaurant while waiting for Henry, Violet and her date finally get seated. Instead of the pleasant time she expected, Violet begins to get bombarded by “digidrops” of ominously specific memes. As if first dates weren’t already a stressful enough experience, Violet now has to try and make the most of her night while dealing with a mysterious stalker sending her weird memes and trying to coerce her to kill her date or threatening to kill her son and sister back home. I would’ve been massively disappointed if a film called Drop, with the majority of the action taking place on the top floor of a high-rise, didn’t have someone go through a window, but it’s not something you have to worry about in the unhinged third act that culminates.

Drop constantly teeters on the edge of comedy and tension and even frequently falls over to either side while still keeping the presence of both. Call it Hitchcockian or Shyamalan-esque, writers Jillian Jacobs’ and Chris Roach’s, as well as Landon’s ability to craft suspense and tension is incredible. Although already a staple of Landon’s films, the way that Drop balances its thriller and comedy aspects is very reminiscent of late-style Shyamalan, especially Trap, as both films are single-location thrillers as well. Though not as silly as Shyamalan’s iconic writing (feature not a bug!), Drop is similar with caricature characters and its exaggerated writing and performances from its side characters, though it’s able to retain its tense realism through its lead performances. Fahy and Sklenar have their goofy moments, but both are excellent and carry the serious moments exceptionally well. If you’re concerned with the number of Shyamalan mentions, don’t be—his blood runs through the veins of Drop like a father, or cousin on mother’s side once removed. 

Drop is infused with a kineticism that feels rare nowadays in a film such as this. In this era where high-concept, crowd-pleasing films are increasingly designed specifically for streaming platforms—where visual language is often more restrained—Drop stands apart. It’s not hard to imagine a film such as this crafted for efficiency, shot conventionally to be dropped onto streaming. Landon’s direction and Marc Spicer’s cinematography, however, give it a unique cinematic flair that demands the big screen. The kinetic energy of the cinematography is reminiscent of acute forms of Raimi-isms with its playful stylistic choices that elevate—not undercut—the tension of the film. The camera is so dynamic, and movement serves a purpose, turning even minor sequences into mini-spectacles. Dutch angles and whip pans imbue Drop with a personality it would have felt lacking without. It may seem like the bare minimum to make a film not static and stale, but Drop goes above and beyond in crafting its visual experience that need be experienced theatrically. 

Refusing to adhere to the predictability and straightforwardness of high-concept thrillers of late, Christopher Landon’s Drop offers a unique, high-energy, high-stakes, high-rise spectacle. His talents may have been wasted in a conventional, studio-driven franchise project like Scream 7, but Drop is the perfect vehicle for Landon to flex his artistry. Drop is a nerve-wracking blast and it more than delivers on every front even if you just wanna see someone drop from a skyscraper. 

Drop hits theatres April 11 courtesy of Blumhouse and Universal.

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