Movie Review: Meghann Fahy Takes On Cyberstalker in Drop

A mother’s work is never done. In the adrenaline-fuelled Drop, Meghann Fahy is held at gunpoint, thrown across tables, and sucked out of a high-rise window. Her only crime is daring to power through her troubled past. The breakout star of The White Lotus takes on the role of Violet, a single mother and psychologist, who attempts to dive back into the dating pool after surviving an abusive relationship. Set in an upscale restaurant on the top floor of a Chicago skyscraper, the film kicks into high gear when Violet is bombarded with anonymous “digi-drops” to her phone. A series of demented demands ensue, one of which involves the offing of the husband-worthy hunk she’s on a date with, or her son will pay the ultimate price.

Many would agree that achieving the right atmosphere is imperative in crafting a good thriller. That is where Drop excels. Taking place largely in one room and in real-time, the Christopher Landon-directed film effectively builds and maintains tension for the length of its 95-minute runtime. Its staging of a high-stakes cat-and-mouse game is further elevated by the rule of technology that the mysterious sender must be within a 50-foot radius of the protagonist.

Speaking of which, Drop makes a case for itself as the next standard-bearer for modern horror as it unflinchingly weaponises our digital dread. The film distils our paranoia, most notably on the very real possibility of privacy breach, and hangs it over our heads. Fahy plays up the fear exacerbated by her stalker’s anonymity to perfection. Emotive in her muted distress, trying to remain present in the date, she keeps the audience engaged throughout the fright.

While it does bring something new to the table, Drop at times falls into the trap of genre tropes, preventing it from taking a bolder direction. The reveal of the “digi-dropper”, for starters, holds so much promise. Violet, unbeknownst to the audience, is keeping her cards close to her chest. Her guile in gaining ground on her opponent, however, is undercut by a predictable “gotcha” moment—a shortcut solution to get the plot moving that undermines her foresight.

There are also instances where the choices made simply fly in the face of reason. The entire sequence where Violet tears through traffic to save her son—and still makes it in time—stretches the boundaries of plausibility. The tension feels manufactured as opposed to something that is grounded in reality. But then again, when a film is produced under the Blumhouse banner, a prolific name in the genre, some formula-driven narrative structures are inevitable.

Expertly marrying the elements of pressure-cooker thrillers and precariously deceptive whodunits, Drop at its best offers an edge-of-your-seat viewing experience. Its commentary on the pitfalls of technology via the use of smartphones as a plot device lends it a hook that feels relevant in today’s world of constant connectivity. Coupled with well-calibrated pacing and commendable action sequences, Drop makes a thoroughly enjoyable watch, barring a few loose threads in the narrative.

Rating: 7/10

For more culture reads, click here.