Reel Reviews From SXSW 2025: Megan Fahy Proves She’s A Badass In Blumhouse Film Drop
Truth is, I have spotted Meghann Fahy’s brilliance since the Freeform series The Bold Type, and her first thriller Drop only cements her talent. And it may be bold (get it) to say this, but I am throwing it out there as one of the best films to come out of SXSW this year. It's exactly what you want from a one-location film—it’s intensity engulfs you from the beginning, dragging you into the story and trapping you in your seat. One can appreciate the directness of the film: an opening scene of physical abuse seemingly tells us a little about Fahy’s character—Violet, where she’s been, or possibly where she is going. Creating an immediate interest in her, it’s that curiosity that serves this film well from the start. Director Christopher Landon uses the script from Jillian Jacobs and Chris Roach and builds a world that feels personal yet massive.
We all know first dates are probably the scariest part of the dating scene. Sitting across from a stranger who you are meant to get to know enough to decide if you want to continue to date them? Yeah, talk about pressure. But let’s not forget what day and age we are in—technology has changed the game of dating permanently, giving us access to people we wouldn’t meet without our tiny death traps. And while first date anxiety may be a universal issue, a history of violent, abusive relationships amplifies that. It has been years since she’s dated, and she found routine with her son Toby. Pulling away from that and trying to date again is unnerving. But she does.
Her pick? Henry (Brandon Sklenar), a photographer from Chicago who she’s been messaging with. He’s charming, with a pleasing smile and an almost too-good-to-be-true interest in her. But again, this film doesn’t disguise itself as a romantic tale. When Violet gets a few creepy digidrops (the non copyright AirDrop) on her phone from someone in her vicinity, it quickly goes from small, weird, passable memes to explicit threats. Everyone’s a suspect—especially the wide-eyed, gentle doberman sitting in front of her. But that’s too easy of a hit. And while it’s all quite alarming, when the text warning her to check her security cameras shows her a masked man in her home ready to kill her son and sister unless she poisons her date, the world encloses in on her and the panic never gets a chance to settle.
Fahy is in every frame of the film from start to finish, and she gives an exemplary performance. There’s no question about Fahy’s talent. The White Lotus actress has proven herself, but this film asks a lot of its leading lady, and she delivers on all fronts. While the film is fast-paced and intense, Violet is a complete character. Fahy utilizes every still and slowed-down moment in this film to build Violet, allowing the audience to not label her just a damsel in distress but a survivor—and a strong one at that. She is intelligent, quick, decisive, and most importantly, expressive. This film relies on Fahy to tap into her character’s inner turmoil through her physical appearance—capturing subtle shifts in posture and fleeting glances, all while maintaining the facade of a calm, composed date.
Skelnar adds to the story as well. He’s not in every frame and has less to work with, but the mystery of his character provides tension. Immediately, you have to ask yourself—why does someone want him dead? Even if he’s not the current threat, what more is there to this nice guy?
Blumhouse’s Landon does not disappoint in this one-location film.He utilizes the space well, making it feel bigger than it is and doesn’t let any nook and cranny go to waste. Somehow, he creates an intimacy with the restaurant itself—at some points, it even feels familiar. The set is beautifully brought to life—from lighting to design choices—it’s inviting, yet the space hums with unspoken tension. And while the phone is one of the main characters, there’s no overuse of it—it feels natural and serves its purpose.
It’s true, this isn’t always the most logical film. In fact, it throws away reason for the most part. But the film doesn’t sit long enough for that to take away from the story, and the talent is too strong to neglect the thrill of it all. When Feehay is on the screen, her eyes are moving the story along, and you follow—tethered to her unraveling. Her casting choice is perfection for this film, and I hope this means we’ll be seeing more of her in different genres.
Drop is not only a fun ride, but it’s an amazing watch. If you want to feel tension and fear without having to sit in a horror movie, this is right up your alley. It’s a must-watch that will have you examining every frame.
Drop hits theaters April 11th.
