The Drop (2025)

Release Date: April 11, 2025
Director: Christopher Landon
Starring: Meghann Fahy, Brandon Sklenar, Violett Beane, Jacob Robinson, Reed Diamond, Gabrielle Ryan, Jeffery Self, Ed Weeks, Travis Nelson

The Plot: A Date Night Gone Terribly Wrong

So, I just finished watching The Drop, and I have to say, I was seriously excited for this one. A psychological thriller with a simple yet intriguing premise—what could go wrong? The plot revolves around Violet Gates (Meghann Fahy), a woman reentering the dating scene after years of single motherhood. She meets Henry Campbell (Brandon Sklenar) at an upscale, intimate restaurant in downtown Chicago, and the night seems promising. But, of course, things take a wild turn when Violet starts receiving threatening messages via an app called DigiDrop, telling her she must kill Henry or risk losing her family.

The setup is fantastic—tight, nerve-wracking, and keeping you on the edge of your seat as you try to figure out what’s going on. The movie takes place mostly in one location, which I didn’t mind. It creates this really intimate atmosphere where everything feels more confined, raising the stakes even higher. There’s this tension that builds as you’re watching, and the movie does a decent job of keeping you guessing as to who the real villain is.

But, and this is where things get tricky, the film's potential gets overshadowed by some seriously questionable decisions in the second half. While the first part of the film feels like it could be a hidden gem in the thriller genre, the execution falters as it careens toward an absurd, eye-rolling conclusion. There are moments when you’re on the edge of your seat, trying to solve the mystery, but the movie takes a massive nosedive by the end.

The Cast: Fahy’s Strong Performance, but the Rest Fall Short

Let’s talk about the performances, because The Drop definitely has some shining moments in this department. Meghann Fahy—who you may recognize from White Lotus—does an incredible job here as Violet. She brings this raw emotional depth to the role, making you feel every ounce of her struggle and inner turmoil. Violet is a woman who’s been through a lot, and Fahy nails that complexity, especially in the early scenes where you feel the weight of her loneliness and desperation.

Brandon Sklenar plays Henry, and while he’s not bad, his performance falters as the plot unravels. At first, he’s charming and mysterious enough to keep you wondering if he’s the good guy or the villain. But as the film progresses, his character loses its edge. It’s not Sklenar’s fault—the script just forces him into situations that make his character less believable, especially once things start spiraling out of control.

Violett Beane plays Violet’s younger sister, Jen, and while she does her best, her role is pretty underwhelming. She doesn’t get a lot of screen time, and when she does show up, it’s mainly to add to the chaos without contributing much to the narrative. Then there’s Jacob Robinson as Violet’s son, Toby, who is more of a plot device than an actual character. He’s there to raise the stakes and provide some emotional weight, but his presence doesn’t really add much to the overall story.

As for the rest of the cast—Reed Diamond, Gabrielle Ryan, Jeffery Self, and others—they feel more like filler. None of their characters are fleshed out enough to matter in the grand scheme of things. They serve their purpose in escalating tension, but once the big twist comes, they’re easily forgettable.

The Vibe: From Suspense to Slapstick

The film starts off with such promise, especially in its first 30 minutes. The vibe is tense, moody, and effective. The high-rise restaurant where Violet and Henry meet is sleek and intimate, giving the whole thing a controlled, almost claustrophobic feel. The minimal score adds to the suspense, and the pacing is steady, making you feel every moment of dread as Violet’s paranoia sets in.

But then, something happens. The vibe completely shifts, and the movie veers off the rails. What started as a psychological thriller morphs into an over-the-top action sequence. We get car chases, kitchen brawls, loud music, guns, and even a drone. Yes, a drone. Suddenly, everything that was so meticulously built up in the first half gets drowned out by spectacle. The movie abandons the subtlety and suspense that made it work and goes full-throttle into absurdity.

The tone becomes inconsistent, which really takes away from the suspense. What felt like a grounded thriller with real stakes is now a slapstick attempt at being edgy and dramatic. The transition from slow-burn tension to overblown action is jarring, and instead of building up to something chilling, it feels like a desperate attempt to throw everything at the wall to see what sticks.

The Ending: A Complete Letdown

Now, let’s talk about the ending—because, honestly, it’s what really ruins this movie for me. Violet, who has been portrayed as a vulnerable woman doing everything she can to protect her son, suddenly turns into an action hero. It’s like someone dropped her into an Action 101 class and said, “Alright, go fight a man with a gun now.” She ends up in a fight with the killer, manages to somehow overpower him, and—wait for it—her 5-year-old son helps save the day by sending in a toy car with a gun to shoot the villain. Yes, you read that right. A toy car. With a gun.

I’m all for movies that take risks and bend the rules of realism, but this crossed a line into absolute nonsense. How did she manage to drive home from the killer’s house, only to find him still not having killed anyone? The plot holes are massive, and the ending feels like a cheap gimmick to tie everything together, leaving you questioning what just happened.

The villain’s motivations are vague at best, and the final confrontation comes off as forced. The twist meant to be shocking doesn’t land because it’s too late to salvage the mess the film has become. What started as a tight, suspenseful ride ends in a laughable, over-the-top climax that felt completely out of place.

Controversy: Mismarketing and Lost Potential

When the marketing for The Drop first dropped, it was billed as a sharp, edge-of-your-seat psychological thriller. And for the first half of the movie, it’s exactly that. The slow-burn tension and the mystery around Violet’s predicament keep you engaged. But as the film moves forward, it tries to be more than it can handle. The tonal shifts and ridiculous action sequences make it clear that the filmmakers lost sight of what made the film work in the first place.

It’s as if they were aiming for a Gone Girl meets Panic Room vibe but ended up with something more Jason Bournemeets Home Alone. It’s confusing and frustrating because the potential was there.

Public Feedback: Divided Opinions

The public reaction to The Drop has been mixed. On Rotten Tomatoes, it holds a decent 86% critic score, but audiences are less kind, with many pointing out the film’s tonal inconsistency. Some enjoyed the thrill ride, while others, like me, found themselves disappointed by the absurdity in the second half. Reddit is full of heated debates, with many mocking the film’s final scenes, especially the toy car with a gun.

Final Thoughts: Wasted Potential

The Drop had real potential. It started with a great setup, solid performances, and a suspenseful atmosphere. But the second half? It’s a mess. The film abandons its roots as a psychological thriller and goes full action mode, which doesn’t work at all. The ending is absurd, and the film collapses under the weight of its own over-the-top ambitions.

In the end, I wouldn’t watch it again unless I was stuck in a hotel abroad with nothing else on TV. It’s one of those movies that starts strong but ends up being more frustrating than satisfying.

Final Rating: ⭐⭐⭐⭐ (4/10)

A strong start sabotaged by a ludicrous finale. Fahy shines, but the film's potential drops off a cliff—literally and figuratively.