DROP 🤮

DROP is the first terrible movie I’ve seen in theatres in 2025. I hope I don’t know anyone involved in writing, directing, producing, or shooting this movie because if I do, I’m coming over to your home and asking you what the hell was this piece of crap?! If you’ve seen the trailer, know that it’s 100x better than the movie itself because it shows all the best parts of the film, and there’s just not much more to it at all. You were right if you saw the trailer and thought it looked bad. DROP’s one saving grace is that it’s comedically awful, and I laughed a lot, so I can’t say I had the worst time ever. Let’s dive in. 

First, it’s not the actors’ fault. Meghann Fahy (THE WHITE LOTUS) and Brendan Sklenar (1923) do their best with a generic thriller script with poorly written dialogue added in. Both surely have better film roles ahead of them. I worry that Sklenar is being typecast as this calm, sturdy young gentleman when I bet he could play a sociopath or bonzo-funny action star if given the right role. In 1923, he’s the calm, heroic nephew, and in IT ENDS WITH US, opposite the Justin Baldoni and Blake Lively on-screen/off-screen drama, he’s again the good guy hero. His role as Henry in DROP is very one-note. He’s on a first date with Violet (Fahy) and he’s so patient and amicable that he’s boring as hell. Violet makes every terrible decision you expect her to make in a movie like this, and I practically felt Fahy’s frustration through the screen. C’mon Hollywood. These are talented, beautiful young millennial actors – give them something to work with! 

DROP is full of laugh-out-loud moments, so it’s not a complete waste of time. Unfortunately, none of these scenes are played for laughs. I found myself cackling at how stupid every choice made by the characters was and by the direction, editing, and cinematography. Most of the film is a pretty standard by-the-book mystery/thriller. And then, randomly, someone involved in this film’s creation decided that an out-of-place close-up was needed. Let’s give it another shot: a stylish flourish that absolutely doesn’t belong in a movie like this. I couldn’t help but wonder if two separate editors or cinematographers were involved with very different approaches, but alas, IMDb says just one of each. Also, why is Bear McCreary here as the composer? Perhaps McCreary is trying to break out of television mode to the big screen. He’s fantastic and deserves big-screen films, but this is not it. His score is perhaps the best thing going for this movie, but that’s not saying much. 

If you care to drop in to DROP, it’s now playing exclusively in theatres.