'Drop' SXSW review: A Blumhouse thriller that overstays its welcome

Courtesy of Universal/SXSW

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Christopher Landon’s latest micro-budget Blumhouse thriller, “Drop,” begins with a promising concept but quickly descends into an exercise in absurdity that stretches the limits of believability. The film, which stars Meghann Fahy (of “The White Lotus” fame), centers on a disastrous first date gone wrong. Violet, Fahy’s character, becomes entangled in a high-stakes cat-and-mouse game with an unseen assailant who, via Airdrop, sends threats and tasks to her phone. If she doesn’t comply, her son will be killed. It’s a premise that invites comparisons to thrillers like “Phone Booth” or “Red Eye,” but “Drop” lacks the tension and compelling storytelling necessary to elevate it beyond its obvious plot holes. And it notably lacks a menacing Cillian Murphy. 

Landon, no stranger to the horror-thriller genre with films like “Happy Death Day” and “Freaky,” attempts something innovative by using modern technology as the crux of his story. However, “Drop” proves to be an uneven experience that demands too much from both its cast and audience. While the film’s concept may be novel, it’s the execution that falters.

Fahy plays Violet, a caring mother and therapist with a troubled past, eager to start anew. After leaving her son and sister at home, she heads to a chic high-rise restaurant for a date with Henry (a charismatic Brandon Sklenar). The script makes a curious and almost comical point of introducing nearly everyone in the restaurant – from the bartenders to the pianist – as if to hint that any of them could be the villain.

Unfortunately, none of these characters are developed beyond surface-level interactions, with the exception of a bubbly waiter who aspires to be an improv comic. This overemphasis on potential suspects does little to build tension and instead feels like a forced attempt to keep the audience guessing.

The real tension arises as Violet begins receiving cryptic text messages, displayed in large, obnoxious on-screen lettering, which dictate a series of increasingly dangerous tasks.

The most significant of these is the demand that Violet kill Henry. As the story unfolds, the stakes become more and more predictable, with Violet's increasingly erratic behavior serving as a distraction for the oblivious characters around her. Throughout their date, she bounces between her phone and the restaurant, acting increasingly frantic, yet Henry seems completely unbothered by her l behavior. It’s almost miraculous that he sticks around as long as he does. 

Then there’s the obligatory twist: an over-the-top monologue delivered in a crowded restaurant, where no one seems to notice the escalating drama. The film’s reliance on security cameras and the assailant’s ability to tap into them is another stretch of logic that strains credibility. These moments, which should provide suspense and intrigue, instead come off as contrived.

Ultimately, “Drop” struggles to find its footing. It follows the familiar beats of thrillers but lacks the emotional weight or strong lead performance to pull it off. A truly great thriller can make you overlook glaring plot holes, but here, the film’s predictability and the lack of a convincing protagonist make it hard to stay engaged. By the time the credits roll, you’re left wondering how everyone in this world could be so oblivious to the dangers around them. Check, please!

Grade: C- 

DROP premiered at SXSW. Universal Pictures will release the film in theaters April 11th.