These days, any movie linked to Blumhouse elicits an eye roll from horror fans. Once releasing hit after hit, the production company now prioritizes quantity over quality. That’s not to say there isn’t a banger or two sprinkled in. The company has brought some of my favorite movies to the big screen, such as Get Out (2017), Paranormal Activity (2007), The Purge (2013) and more but the last Blumhouse release, The Woman in the Yard, was so divisive that people either loved it or hated it — nothing in between. I haven’t seen people argue over the meaning of a film’s ending in a long time!
As I head into the early screening of Drop, I am cautiously optimistic.
Drop begins with a flashback featuring Violet (played by Meghann Fahy) having a violent interaction with her now-deceased ex-husband. Fast forward to the present day, Violet is now a single mother who goes on a first date with photographer Henry (Brandon Sklenar). While at a fine dining restaurant, Violet starts receiving several “drops,” similar to AirDrop notifications on an iPhone, from an anonymous source. These messages instruct her to complete specific tasks, threatening her family will be harmed if she does not comply.
I was most excited to watch this film, primarily due to its director, Christopher Landon. He has a remarkable talent for blending horror and comedy, as evidenced by his work on the Happy Death Day films, which brilliantly mix suspense with humor to keep you entertained and on the edge of your seat. Additionally, Freaky offered a fresh take on the body-swap genre infused with thrilling slasher elements. Beyond directing, Landon’s creative prowess extends to writing and producing; he was involved in the production of Heart Eyes, which released around Valentine’s Day this year exploring themes of a romantic comedy intertwined with horror.
His unique style and ability to craft engaging narratives make any project he is associated with worth looking forward to!
I was surprised to see Michael Bay listed among his crew in the opening credits. He is the co-owner of Platinum Dunes, another production company that put out this film alongside Blumhouse, which has remade several horror films, including The Texas Chainsaw Massacre (2003) and The Amityville Horror (2005) — both excellent movies. If you’re unfamiliar with Bay, he is primarily known as a director of big-budget action films with wild explosions and extensive use of special effects.
You’ll see in Drop where these elements come into play!
This movie is undeniably a thriller, and I want to emphasize this point for everyone who might be expecting a traditional horror film, simply because Blumhouse is involved. At the same time, horror enthusiasts will find elements that resonate with their tastes — specific suspenseful scenarios and moments of edge-of-your-seat anticipation — but the essence of this film firmly aligns with the thriller genre.
As a passionate reader of thriller novels, I found this story to evoke the same pulse-pounding excitement that I relish in great literary works. The narrative is crafted skillfully, creating a gripping experience that makes it nearly impossible for me to lose interest. The tension among the characters is palpable; you can feel their struggles and fears heightening with each twist and turn.
It feels like a wild rollercoaster ride, taking me through unexpected drops (no pun intended) and exhilarating climbs that kept my heart racing from beginning to end. This isn’t just a story you observe; it’s one you become profoundly immersed in, and I genuinely couldn’t wait to see how it all unfolded!
And if there’s one thing my thriller novels have taught me, everyone is a suspect.
Fahy delivers an extraordinary performance as Violet, effortlessly carrying the film through its twists and turns. Her portrayal is imbued with a palpable sense of urgency that draws the audience in, making us feel every emotional weight she bears. While I appreciated her role in Your Monster, it’s in this film that she truly captivates; her nuanced performance showcases her acting range and highlights her ability to convey complex emotions with depth and authenticity.
Every scene she inhabits feels electric, leaving a lasting impression long after the credits roll.
Sklenar delivers a standout performance as Henry, showcasing his remarkable talent and depth in this supporting role. Having garnered attention for his recent work in It Ends with Us, he brings a captivating charisma that shines through every scene. His chemistry with Fahy is palpable, effectively capturing the heaviness of first-date jitters and evoking a nostalgic sense of those exhilarating initial moments of connection.
Sklenar’s expressive eyes communicate a wide range of emotions, drawing viewers in and making them instinctively want to trust his character. His ability to convey vulnerability while exuding confidence makes his portrayal relatable.
I also loved the cinematography and score. It reminded me of M. Night Shyamalan’s Devil, not because of the content, but because of the sweeping scenes of city skylines and the sense of dread the music conveys. The score is grand and ominous, heightening the tension with every scene. Composed by Bear McCreary, an Emmy-nominated composer, Drop showcases his professionalism and vast repertoire of film, television and video game scores. Combined with light and shadows, it creates a stunning atmosphere.
I avidly enjoy “cyber horror” — movies that convey their narratives through media technology like smartphones and computers. While the way messages appear on the screen isn’t exactly new, it is presented in a visually appealing manner. If the messages had been displayed simply as text or solely on Violet’s phone screen, this film would not have the same impact it does.
The messages and memes capture the viewer’s attention.
The amount of comedy in this film was not what I expected! The entire theater was in stitches thanks to the restaurant’s waiter, played by Jeffery Self. There are also some clever one-liners. It’s all perfectly timed and spaced enough to relieve some tension. I should have known there would be laughs in a Landon movie!
While I thoroughly enjoyed the film, my only criticism lies in my ability to anticipate the villain’s identity. I take pride in never being able to predict how a story will unfold, so discovering the antagonist’s identity ahead of time was disappointing and resulted in an anticlimactic reveal. Nonetheless, this did not significantly diminish my overall experience.
The narrative doesn’t conclude with the revelation of the villain; instead, it continues to evolve, and I found myself genuinely intrigued by how the story would ultimately resolve. The journey toward the end was filled with unexpected twists, despite my earlier prediction.
I give Drop a solid four out of five stars. My experience in the theater was nothing short of exhilarating, amplified by the energy of the crowd around me. We gasped unison during the intense moments and laughed at the film’s clever wit and comedic timing. The audience’s enthusiasm was palpable, culminating in multiple rounds of applause during ending scenes and when the credits rolled.
What I appreciated most about Drop is its ability to balance thrilling action sequences with a lighthearted tone; it never took itself too seriously, allowing for moments of levity amidst the tension. Although the trailer did reveal some key action scenes — which initially raised my concerns about spoilers — I was pleasantly surprised to find they didn’t diminish the excitement.
Blumhouse has redeemed itself with this film, demonstrating a return to form that satisfied me. Still, as a devoted fan, I will maintain a cautiously optimistic stance regarding future releases, hoping the studio continues delivering engaging and entertaining content.