Movie Reviews
Drop Review: A Slick, High-Stakes Thriller with a Beating Heart
In Drop, director Christopher Landon (Happy Death Day, Freaky) trades supernatural body-swaps for a grounded, nerve-shredding thriller set in a single, sleek high-rise restaurant. Working from a taut script by Jillian Jacobs and Chris Roach, Landon crafts a tightly wound chamber piece with digital-age paranoia, emotional stakes, and escalating dread. Anchored by a commanding performance from Meghann Fahy, Drop isn’t just a thriller—it’s a ticking time bomb of psychological torment, familial love, and corporate corruption.
A Date Gone Wrong:
At its center is Violet (Fahy), a widowed mother navigating the early stages of dating after the traumatic suicide of her abusive husband, Blake. The emotional vulnerability of Violet’s character is crucial to the film’s success, and Fahy brings a compelling balance of strength, fear, and subtle optimism. Her attempt at re-entering the dating world leads her to “Palate,” an upscale rooftop restaurant where she’s arranged to meet Henry (Brandon Sklenar), a charming, soft-spoken city photographer she’s been chatting with online.
But things begin to unravel before he even arrives. Violet is plagued by mysterious “Digi-Drops”—a blend of harmless memes and progressively menacing messages that shift from unsettling to outright horrifying. While the term “drop” may sound benign, the film makes it ominous through clever pacing, ominous audio cues, and the growing realization that someone in the restaurant is watching Violet. The sleek, almost too-pristine atmosphere of Palate—complete with a smooth pianist (Jeffery Self) and a scattering of diners—starts to feel increasingly claustrophobic as Violet is ensnared in an elaborate cat-and-mouse game.
Excellent directing and cinematography:
Landon masterfully builds tension with spatial precision. Every table, glance, and corridor feels suspect. The cinematography, cool and composed, contrasts sharply with Violet’s growing internal panic, making the setting itself feel like a silent predator. When Henry finally arrives, the story shifts gears from flirtatious awkwardness to tense suspicion. Brandon Sklenar’s performance as Henry walks a careful line: is he the only ally Violet has, or is he somehow involved?
Rather than leaning solely on whodunnit mechanics, Drop is more interested in the how and why. The film thrives in its ability to slowly peel back the layers of Violet’s trauma and strength. As her situation worsens—eventually witnessing a home invasion through her own security cameras and being blackmailed into silence—we see a woman being pushed to the brink in real time. Fahy captures every flicker of hesitation and resolve, carrying the film through even its most implausible twists.
Supporting cast and the use of technology:
There’s a fascinating interplay between Violet and the cast of characters around her, particularly the enigmatic Richard (Reed Diamond). Meanwhile, Violett Beane as Jen provides some grounded human warmth that serves as both a red herring and an emotional tether. Jeffery Self’s Phil, too, provides an intriguing counterweight—his scenes, light on dialogue but heavy on mood, add subtle texture to the ensemble.
The film’s use of technology is notable and highly effective. Rather than relying on gimmicky visualizations of texts and apps, Landon and the writers integrate modern tech anxiety organically into the plot. The concept of “Digi-Drops”—a fictionalized but plausible evolution of digital messaging—feels right at home in a world where surveillance and data manipulation are everyday concerns. The idea that Violet can’t even trust her own phone, her date, or the people around her lends Drop a chilling, Black Mirror-like undertone.
Pacing and other issues:
Where the film truly excels is in its pacing and structure. Though confined to mostly one location for much of its runtime, the film never feels stagnant. Each new development raises the stakes, and just when the situation seems to plateau, it jolts forward again with a new revelation or threat. The tension is sometimes suffocating, particularly in the film’s second act, where Violet is forced to make increasingly difficult decisions with impossible stakes.
If there’s a drawback, it’s that Drop occasionally edges toward the melodramatic. Some twists, particularly in the final act, require a mild suspension of disbelief. A few characters are underdeveloped—specifically some of the diners and side figures whose motivations feel more like plot devices than fully fleshed-out individuals. But these are minor criticisms in a film so confident in its tone and so carefully constructed.
A well-rounded experience with payoff:
The emotional payoff in the third act—without getting into spoilers—is well-earned. Violet’s arc, from a cautious woman afraid to re-enter the world to someone forced to confront both internal and external threats head-on, is compelling and cathartic. The relationship between her and her young son Toby is understated but essential. The stakes are never abstract—there’s a child’s safety and a family’s future on the line—and that gives Drop a grounding, emotional anchor that’s missing from many thrillers of this kind.
Brandon Sklenar’s Henry turns out to be more than a pretty face, and the chemistry between him and Fahy adds a bittersweet layer to the escalating danger. The film doesn’t need to lean into romance, but it does, gently and effectively, never forgetting that vulnerability and connection are just as dangerous—and necessary—as deceit and power.
The technical elements—score, lighting, and editing—are all top-notch. The music subtly morphs throughout the film, moving from elegant ambiance to urgent pulses without drawing too much attention to itself. The use of camera angles and close-ups heightens Violet’s isolation without it feeling gimmicky. It’s a confident, sleek production that knows when to hold back and when to go all in.
Overall:
Drop is a smart, stylish thriller that understands the fears of the digital age but roots them in very human emotions: grief, love, and trust. It balances its high-concept tension with grounded performances, particularly from Meghann Fahy, whose turn as Violet deserves recognition. Christopher Landon once again proves he’s not just a genre director—he’s a filmmaker who knows how to use suspense as a tool to explore deeper truths. It’s a harrowing night out—and one that audiences won’t soon forget.
Drop Review: A Slick, High-Stakes Thriller with a Beating Heart
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Acting – 8.5/10
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Cinematography/Visual Effects – 8.5/10
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Plot/Screenplay – 7.5/10
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Setting/Theme – 7.5/10
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Watchability – 8.5/10
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Rewatchability – 7.5/10
User Review
( votes)
Summary
Drop is a smart, stylish thriller that understands the fears of the digital age but roots them in very human emotions: grief, love, and trust. It balances its high-concept tension with grounded performances, particularly from Meghann Fahy, whose turn as Violet deserves recognition. Christopher Landon once again proves he’s not just a genre director—he’s a filmmaker who knows how to use suspense as a tool to explore deeper truths. It’s a harrowing night out—and one that audiences won’t soon forget.
Pros
Christopher Landon continues to prove himself as a great director
Meghann Fahy and Brandon Sklenar deliver fantastic performances
Excellent lighting and cinematography
Tense all the way through
Cons
Some of the scenes that involve the use of memes are a bit silly
Slight bit of having to suspend disbelief in the third act
The sixth outing in the director’s chair for filmmaker Kirk Jones, I Swear dramatizes the real-life story of touretter John Davidson (played by Robert Aramayo). Tourette’s Syndrome, for those unfamiliar with the condition, is a nervous system disorder that causes various tics, the most prolific being erratic and explicit language. However, as I Swear expertly showcases, the syndrome is far more than ill-timed outbursts of curse words. Davidson’s story is one of societal frustration, finding your people (both with and without the condition), and using your voice to help others rise. The subject and subject matter are handled with absolute care and understanding under Kirk’s measured vision and Robert Aramayo’s BAFTA-winning performance.
The film kicks off with the greatest exclamation to democracy ever uttered (*%#! the Queen!), as a nervous John Davidson prepares himself before entering an awards ceremony hosted by Britain’s royal family. Right away, the film tells us what it is: a triumph over adversity that blends humor and human drama with education. It’s an important setup, as the film flashes back to Davidson’s 1980s youth, where we see his time as a star soccer recruit flatline as his condition takes hold. Davidson’s life spirals from there. Some aspects, like school bullying and accidental run-ins with authority figures, are expected but important to empathizing with young Davidson’s (young version, played with heart by Scott Ellis Watson) new everyday life. The more tragic, a complete meltdown of his family system, is unsettling if quick. His father (Steven Cree) is never given enough screen time to explore his alcohol coping tendencies. However, his mother Heather’s descent into easy fixes and blaming is crushing and convincing. Harry Potter series actress Shirley Henderson (Moaning Myrtle) gives a layered performance as Heather. Someone who loves her son, but also feels cursed by him as the entire family exits the picture. It’s bitter, she’s tired, and fills each conversation with ‘only medication and your mother can save you’ energy.
From there, the viewer and Davidson find refuge in a host of characters. Maxine Peake plays Dottie, the mother of a childhood friend and a retired mental health nurse. Screen vet Peter Mullan plays maintenance man Tommy Trotter. Together, they help Davidson build a life and an understanding of himself that carries the film forward into its second half. After that, the film is primarily a 3-actor show as director Kirk fills the screen with these tour-de-force performances. Peake and Mullan are great vessels to get the film’s main message across: patience, love, and a shared responsibility between the diagnosed and those who understand their struggle can help change the path for people quickly left behind by a normative world. Together, they are the soul of the movie, with the filmmakers clearly hoping the audience will follow their lead after they exit the theater (in my case, the beautiful Oriental Theater for the Milwaukee Film Festival). Both performances are perfectly warm and reflective and shouldn’t be left out in discussions of I Swear.
I say this because the movie is anchored by The Rings of Power actor Robert Aramayo, who leaves Elrond’s elf ears behind to bring an acute naturalism to his performance of main character John Davidson. Aramayo’s physicality and timing of the fitful Tourettes Syndrome never feel out of place or overplayed. In fact, the movie as a whole does an amazing job of never veering into sentimentality. While many moviegoers left with tissues dabbing their eyes, the filmmaking never felt like it was forcing that reaction out of audiences. It straddles the line between feel-good and reality with every story beat and lands squarely on the side of letting the real inform our feelings. Anyone with an ounce of empathy will grasp the film’s message and hopefully take it with them into life.
I Swear continues at the Milwaukee Film Festival on Tuesday, April 21st, and releases nationwide April 24th, 2026, courtesy of Sony Pictures Classics.
Pizza Movie (2026) Director: Nick Kocher and Brian McElhaney, Star: Gaten Matarazzo and Sean Giambrone
Somehow, I got through an hour of this movie. I was seconds away from turning off in the first fifteen minutes because of the juvenile humor. Pizza Movie is too silly, repetitive, and the characters are annoying. Stranger Things Gaten Matarazzo and Sean Giambrone star as college friends, Jack and Montgomery. College angles are rarely seen in films right now, and that’s the one saving grace of the film. Similar to high school, people are also trying to fit in. The story and visuals were too corny. You can only watch someone’s head exploding for so long without letting yours.
The Super Mario Galaxy Movie (2026) Director: Aaron Horvath and Michael Jelenic, Stars: Chris Pratt, Charlie Day, Anya Taylor-Joy
I never saw the first Super Mario Brothers Movie when it was out, but I heard it got positive reviews. My brother always loved playing Super Mario video games as a kid, and I’d watch him. I tagged along with my friends to see Super Mario Galaxy Movie, and it’s a cute and fun film. I like it when movies explore the video game world. The animation creates unique worlds and characters. The characters are split into their own storylines, and for me, I felt like it worked. It adds more action, especially for kids who are seeing the films.
Emily in Paris Season 5 (2025) Creator: Darren Star, Stars: Lily Collins and Ashley Park
After a bright spot in season 4, I thought season 5 of Emily in Paris would continue its growth in the story and its protagonist, but no, it’s all drained out in the usual Emily (Lily Collins) mishaps. Ashley Park (Mindy) has become too good for this show. Emily and Mindy waste several opportunities because of their love lives. The whole relationship angle is ruining it. I don’t understand why Alfie (Lucien Laviscount) is still in the show. I thought writers learned their lesson, but by the last episode, they’re continuing to bring the past into an apparent season 6.
Sarah’s Oil (2025) Director: Cyrus Nowrasteh, Stars: Naya Desir-Johnson and Zachary Levi
There’s always history lurking right beneath our noses. Sarah’s Oil (2025) tells the true story of Sarah Rector, an Oklahoma-born African American girl who became the first black female millionaire in the U.S. Naya Desir-Johnson is fierce and driven as Sarah. Zachary Levi is also along for the ride as Bert, a man who helps Sarah. Kate (Bridget Regan) was another favorite character as an intelligent woman. Cyrus Nowrasteh was drawn to the subject for its story and its themes. Nowrasteh’s direction is compelling as he unearths a hidden story from history. The film is streaming on Amazon Prime.
Jack Goes Boating (2014) Director and Star: Phillip Seymour Hoffman and Amy Ryan
Jack Goes Boating (2014) didn’t quite work for me, largely because of its slow pace and uneven storytelling. The film stars the late Seymour Hoffman as Jack, who also directed the film. This was Hoffman’s first and only time in the directing chair. Amy Ryan also stars in the film, giving a solid performance. This was also based on a play that Hoffman starred in. Jack wants to participate in a swim championship. That’s hardly what the film is about, tracking other characters’ stories. While the film aims for quiet intimacy, it ultimately drags, making it an underwhelming viewing experience.
You Kill Me (2016), Director: John Dahl, Stars: Ben Kingsley, Tea Leoni, Luke Wilson
Meet You Kill Me (2016), yet another film that I found in the museum of underrated gems. The concept revolves around Frank (Ben Kingsley), a hitman, who is sent to an A.A. meeting to get his mind focused again. A different story happens, where Frank falls in love with Laurel (Tea Leoni). Leoni is one of my favorite actresses. It also stars the funny Luke Wilson. I liked the trio’s dynamics. You Kill Me is a mental health movie. It’s okay to make changes if you’re not happy. I recommended that you keep an eye out for this movie.
Desert Warrior, 2026.
Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.
SYNOPSIS:
An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.
With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.
The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.
Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.
As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.
That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder
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