How are some of the ratings for this so high? Did I watch the right movie? I went in expecting a poor-quality flick. Nevertheless, I gave it several chances, and I'll give them credit for making my brain run a marathon. That being said, everything I thought of was far too sophisticated for Blumhouse. The plot is a disappointment in the worst way possible. It seemed like it was building up toward a decent mystery, but no, it builds up to an empty, overexposed conversation, and the ending, for me, confirms this as an unintentional comedy. I see the potential, but the writing and all-round lack of quality drop the ratings by a mile.

I thought Drop was an incredibly corny and unrealistic movie, which is surprising and different for a movie made by Blumhouse, but I also thought it was highly entertaining

The thriller “Drop,” directed by Christopher Landon, is a film that really gets the value of tight storytelling paired with solid entertainment. Even though it’s set in a single location and relies on a small cast, it shows impressive control over its own goals: to be an intense, fast-paced, and engaging ride. Landon—best known for his horror comedies like “Happy Death Day” and “Freaky”—takes a break from the irreverent tone here, going for something more serious and stripped-down, but without losing his knack for pacing and suspense. “Drop” doesn’t try to reinvent the genre—and that self-awareness is actually what makes it so effective. The script kicks off with a seemingly simple premise but quickly reveals deeper emotional layers and some sharp social commentary. Violet, played with a quietly intense presence by Meghann Fahy, is a woman still haunted by a past of domestic abuse. As she tries to take back control of her life, she finds herself trapped—both emotionally and physically—during what should’ve been a regular dinner at a high-end restaurant. The whole plot revolves around a series of mysterious messages she gets through an app called “DigiDrop,” which turns this fancy restaurant into a minefield, where every choice could put her son and her sister in danger. What makes the film really work is that it never loses sight of the fact that this is Violet’s story. In a genre that traditionally hands the heroic spotlight to male characters, it’s refreshing to follow a plot where the female lead isn’t just a victim, but the one actively fighting to survive. The script smartly avoids obvious clichés like the knight-in-shining-armor trope—even though Brandon Sklenar, as Henry, brings charm and credibility to the screen, his character is rightly kept in a supporting role, never stealing the emotional focus from Violet. Fahy is, without a doubt, the heart of “Drop.” Her performance is raw and vulnerable without ever slipping into melodrama. We’re completely in her corner—not just rooting for her to make it out alive, but feeling the nerve-wracking tension in real time. She’s got this level of expressiveness where even her silences carry emotional weight. Landon clearly understands that and builds the entire mise-en-scène around her, letting the camera breathe when needed and letting the sense of claustrophobia build naturally as the threats close in. On a technical level, the film is really well put together. The editing is sharp and keeps the action clear, even in the tight, busy space of the restaurant. The score is used sparingly but effectively, avoiding obvious emotional cues and instead helping to maintain a steady sense of rising tension right up to the climax. Visually, the cinematography is solid—not flashy or groundbreaking—but it serves the story, reinforcing the mood of paranoia and unease. Sure, if you start pulling at the plot threads too much, a few things come loose. The villain’s master plan, revealed toward the end, doesn’t hold up too well under logical scrutiny. The motivations feel a bit forced, and the ending, while technically sound for a thriller, doesn’t quite deliver the emotional payoff that the buildup promised. But honestly, the film’s structural weak spots are kind of forgivable because the overall experience is so immersive. “Drop” isn’t a movie made for intellectual dissection—it’s a thriller that hits hard in the moment. And that’s where its real power lies. All in all, “Drop” delivers exactly what it sets out to: a tight, tension-filled story centered on a strong, fully-realized protagonist, powered by an honest performance and confident direction. It doesn’t shake up the genre, and it doesn’t need to. By leaning on empathy and urgency rather than crazy plot twists, it brings a welcome freshness to the table. In a time when thrillers are getting bloated and overly ambitious, the lean, sharp simplicity of “Drop” is a breath of fresh air.

Good flick. Do yourself a favor and watch this movie

If it wasn’t boring enough, the penultimate part of the movie was shown in the trailer, and that ended up lasting a couple minutes without much substance. Such a time waster with lacklustre storytelling that centres around texts for most of the movie. It didn’t feel tense, just super annoying that she didn’t just get her date to call the police while she called her sister. It wasn’t ever going to end well. I get the whole abusive relationship analogy, feeling trapped etc thing, but it was an extremely uninteresting and unbelievably poor way of showing it. Also, if the dude has access to putting cameras all around the restaurant, including the ladies bathroom, and enough access to the food to spike other people’s drinks and slip dollar bills into the meal at the date’s tables…why the hell did he need her to do his dirty work? How did he not get caught setting up the whole scheme? The whole plot is so unnecessary