From the start, Drop does not pull its punches. It lets you know what the tone of the film will be, and that, despite its “buzzy” trailer, it has a lot to give audiences. Director Christopher Landon (Happy Death Day, Freaky) delivers another stellar addition to his filmography and continues to prove why he’s one of the best writer/directors out there for the horror/thriller genres.

Following Violet (Meghann Fahy) as she sets out on her first date post-abusive ex, Drop is a tight 90 minutes, and it utilizes every minute. Violet is heading up to a swanky high-rise restaurant to meet her date, Henry (Brandon Sklenar) a press photographer who seems to be just as nervous as she is.

With an intro that makes you sit back in your seat and say Oh to yourself, Drop takes a moment to cool off as we see Violet’s home life: Her sister, Jen (Violett Beane), who gives her the kind of brutal fashion advice only a sister could; and her son, Toby (Jacob Robinson), whom Jen is babysitting while Violet goes on her date. It’s sweet and wholesome, a stark contrast to where we initially see Violet.

The excursion to the restaurant and the subsequent meet-up of Henry and Violet is adorably awkward. Henry has baggage of his own, and though he tries very hard to leave it at the door, he is much like Violet in handling it. Arriving late offers the story the chance to begin our plot point of AirDrops (or DigiDrops, as they’re called in this film). As she waits for Henry, Violet begins receiving them from an unknown sender. (I’m still sad that the best drop was changed from the meme we saw in the trailer. It’s such a good meme!)

Memeing your way into murder

The drops escalate before they even make it to their table, after which Violet is instructed to keep the date going at the risk of her son’s life and the life of those around her if she dares to ask for help. This is the kind of plot point that can be contrived, but given Violet’s past and recent trauma, it almost makes sense that she would be so jumpy. With films like this, sometimes you just need to accept the story and go with it.

Henry (Brandon Sklenar) and Violet (Meghann Fahy) seated at a restaurant table in Drop

The drops continue escalating throughout the date until the unknown sender finally drives Violet to the bathroom, where she is forced to uncover a hidden vial of fentanyl. In order for her son to live, the sender says, she must put it in Henry’s drink. It turns out, then, that it isn’t a random target at all but a political assassination plot: Henry is a photographer who works for the Chicago mayor, and he has photographs of some sensitive information.

Fahy proves herself a formidable actor in this role. With limited scenery to chew on and an invisible antagonist to fight against, she pulls Violet’s fear and vulnerability right up to the surface. You can sense her anguish over the fate of her son and sister and feel the anxiety that has overtaken their date. Though, yes, suspended disbelief does get stretched almost a bit too thin, Drop still proves enough action to make you stick around.

Landon knows best (and that best is humor)

Landon always does best with these kinds of films where he can inject a bit of humor. Their waiter (Jeffery Self) is a bright spot, providing enough comic relief that even when things are dire you’re given a laugh. The third act is, quite honestly, a tad insane, but in a way that makes the film more endearing. To me, it’s what really cemented it as more than just another run-of-the-mill thriller, especially a fantastic sleight of hand that I still don’t know how it worked. Also, “Baby Shark (Piano Version)”? You have to laugh.

Essentially, Drop is the perfect mix of fun, tense, and edge-of-your-seat that I think we need right now. Sometimes you just want to see a movie with what seems like a ridiculous premise, only to end up falling in love with it in the end.

Drop premieres in theaters April 11.

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