Stemming from a solid and entertaining script, Drop is a sleek, yet surprisingly fun time at the movies.
Drop follows a chaotic first date. While on a first date with photojournalist Henry (Brandon Sklenar, It Ends With Us), Violet (Meghann Fahy, Your Monster), a single mother, is soon interrupted by a series of mysterious messages. When the messages turn threatening and her son Tony (Jacob Robinson) becomes targeted, Violet becomes embroiled in a game of cat and mouse. All while trying to find a way to catch the culprit and protect her son before it’s too late.
Drop Has Mounting Suspense and Tension
Director Christopher Landon (Happy Death Day) crafts an intense yet thrilling spectacle with Drop. One that centers its protagonist and setting in a single location, reminiscent of the works of filmmaker Alfred Hitchcock. Especially in regards to how the film’s setting adds to the suspense. Stemming from a solid script by screenwriters Jillian Jacobs (Truth or Dare) and Chris Roach (Fantasy Island), Landon utilizes the duo’s script, molding it into something filled with tension and suspense from beginning to end. This is despite the script being light on character.
Cinematography, Production Design, Score, and Editing
Contributing to the film’s tone and tension is the cinematography from the director of photography, Marc Spicer (Family Switch). Throughout the film, Spicer employs a relentless framing structure. This allows the camera to go through many angles and directions. Thus creating an added impact to the film’s tension. The effect extends to the production design, where production designer Susie Cullen (Abigail) constructs the set in a dynamic way that lends itself to the tension and tone of the film. Furthermore, it allows Spicer to easily establish the shots while still representing the film’s tone.
Speaking of tone, the score from composer Bear McCreary’s (The Lord of the Rings: The Rings of Power) establishes it wholeheartedly as McCreary uses a combination of horns, pianos, and a synthesizer. Additionally, McCreary furthers the film’s relentless tension by doubling down on the score’s presence. Namely, it does so when suspense is at its highest. Assisting with that, though, is the editing. Coming in at an hour and thirty-three minutes, editor Ben Baudhuin (Azrael) slickly whittles the film down. As a result, Baudhuin keeps the audience on their toes, all while focusing on the suspense and tension.
Performances in Drop
When it comes to the cast, Meghann Fahy (The White Lotus) leads the cast exceptionally well. As Violet, Fahy displays grief and uncertainty while emphasizing the situation to the audience. Additionally, Fahy has good chemistry with Brandon Skelnar’s (1923) Henry. Speaking of Sklenar, he plays Henry with a rugged demeanor. One that exhibits and exemplifies an everyman persona. Thus giving the character a sincere, trustworthy quality.
Furthermore, the rest of the cast consists of character actors. This includes Reed Diamond (The Way We Speak), Gabrielle Ryan (Power Book IV: Force), and Jeremy Self (The Horror of Dolores Roach). All three delivered solid performances. Finally, there’s Violet Beane (Death and Other Details) as Jen, Violet’s sister. While Beane only has limited screen time, Beane manages to make the most of it. In particular, Beane shines in regards to the film’s stunts. On top of that, Beane’s chemistry with Fahy feels relatable and realistic.
Final Thoughts
With the help of Jillian Jacobs and Chris Roach’s script, director Christopher Landon and company turn Drop into something unique. The result? A thrilling Hitchockian tale that will leave you on the edge of your seat. Also, Fahy and Skelnar managed to lead the cast effectively while having good chemistry with each other. Overall, Drop is an intense rollercoaster ride from beginning to end.
