The more famous a filmmaker, the more likely it is that entire generations will be in search of ways to emulate their work – and very few directors have been the source of as much imitation as Alfred Hitchcock, whose exceptional and prolific career spurred half a decade of young directors who sought to draw inspiration from his body of work. Yet, very few of them have actually been able to do anything particularly memorable where the final verdict is that it is merely a pale imitation of his style and approach to filmmaking. The fact that no one has managed to actually earn the title of being the next Hitchcock with any degree of credibility (with the exception of maybe Brian De Palma) has not dissuaded legions of filmmakers from seeking out ways to emulate the iconic director’s work, the pursuit of his brilliance being part of his legacy. One of the best examples of a truly Hitchcockian thriller comes in the form of Drop, in which Christopher Landon (who has established himself as quite a remarkable voice in contemporary horror cinema) directs a story in which he are introduced to Violet, a widowed psychologist raising her young son, and in an effort to get back into the dating scene, is invited to dinner by a potential partner. However, before they can begin the wine-and-dining experience, Violet is sent a series of increasingly foreboding messages while in the restaurant, delivered via the drop feature on her smartphone. She is tormented by these disturbing messages, especially when it becomes clear that she is being targeted due to her close proximity to her date, instructed to kill him or face the consequences. It’s a wonderfully offbeat and often quite engaging blend of social satire and psychological thriller, crafted by a director who may not be a household name, but whose body of work does indicate a lot of versatility and a keen attention to detail, Drop being the first moment where we witness what could potentially become his signature style going forward.

Horror is one of the only genres that has consistently been dedicated to touching on the most relevant and prescient of themes. We can attribute this to the likeliness that horror filmmakers tend to be the most attuned to modern trends (since it takes a lot of work to understand the psychological state of its audience), but the more likely reason is that audiences have grown increasingly desensitised to the conventions of the genre, which means that it often needs to be reinvented, with different subjects and creative approaches being the lifeblood of these films. Drop is not marketed as an outright horror nowadays; it tends to be restricted to a very particular kind of terror, one that Landon is clearly not interested in pursuing entirely with this film, but rather as a deeply unsettling psychological thriller. His chosen topic is one that will resonate with a huge portion of the population, namely, that of our over-reliance on technology. There have been a number of fantastic horror and thriller films that have explored or relationship with social media and technological devices, and while they usually tend to vary in quality, they are (for the most part) very effective, since we tend to view the digital world as a safe space, our retreat from the frustrations of the outside world. What we don’t realise is the extent to which technology is dangerous itself, which is something that this film sets out to examine in vivid detail. Where Drop does differ is that it uses technological developments as a tool to explore more universal subjects, which we see through the story of a young mother trying to get her life together, but who risks having it all torn apart when she is unwillingly plunged into a sinister conspiracy, all of which is done through wireless, near-anonymous communication. Anyone who can walk away from this film and immediately find comfort in the expansive, infinite landscape of the online world clearly did not manage to pick up the fundamental conversations being had throughout this film, which is part of the impact left by this terrifyingly honest discussion of our reliance on technology.

The brilliance of Drop is that it is willing to have these sobering conversations, but in a way that is not entirely serious or dour, instead focusing on the underlying themes in a way that feels genuinely fun and entertaining. Despite being rooted very deeply in slightly more unsettling themes, this film does not take itself too seriously at all, and chooses instead to be as outrageous as it needs to be to pique the audience’s curiosity and get us onboard with the wild swings that will be taken throughout. At its core, we find that Drop is a film that doesn’t want to be seen as the definitive word on any of its themes. There are only a finite number of overwrought lectures on the dangers of technology that we can sit through before it becomes dull, and this is certainly a very strong indication of just how important finding a balance between concept and execution is, especially in this particular genre. From start to finish, the director ensures that every moment of this film is as entertaining and offbeat as possible, even when it can sometimes come across as slightly hyperbolic. Those seeking a more realistic and conventional depiction of these conversations should look elsewhere, since Drop is very much built around a heightened, exaggerated version of reality, one in which logic is thrown away almost immediately. It establishes its approach early on, which allows us to ease our expectations, since it’s made very clear that this is not going to be a work in which rational thought is a priority. Instead, it functions as a more outrageous, fast-paced blend of thriller, horror and a touch of comedy, all of which come together to form a rapid-fire film that moves at a steady pace (there’s only a small handful of scenes that can be considered padding, with the majority of the film moving fast and delivering the thrills and chills that we eagerly anticipate), and where each new moment acts as a clue that we use to piece together the broader puzzle. It’s a well-crafted film in which the tone is understandably the focus, and Landon refuses to take it too seriously, choosing instead to make it a more enjoyable affair.

Part of why Drop works so well comes from the director’s decision to cast certain actors. This may not be a star-studded affair, but the use of a variety of different performers (all of whom commit wholeheartedly to the premise of the film) does considerably elevate it from merely just another run-of-the-mill thriller to something slightly more complex and daring. The protagonist is played by Meghann Fahy, who has already drawn attention to herself through her scene-stealing television work, with the past couple of years seeing her skyrocket from a lesser-known actor primarily working in daytime television, to someone who is on the precipice of a major breakthrough, particularly as a result of her immense talents. One aspect of her style of acting that has been most compelling is her ability to emote – she says so much with only her expressions and gestures, which is a quality that has been well-used in her previous work, and which is certainly a great asset for this particular film, where she is tasked with playing a character whose gradual descent into madness as a result of being placed in a precarious position would have been far too heavy-handed if given to an actor who didn’t know how to strike that precise balance between different emotions. Brandon Sklenar is a terrific co-lead, playing the other half of the date that occupies the majority of the film – his cool, calm demeanour is a great antidote to Fahy’s more panicked protagonist, while Reed Diamond, Ed Weeks and Gabrielle Ryan are all welcome additions, bringing a lot of nuance to seemingly one-dimension roles. These are not overly complex characters, but they play a vital role in the unravelling of the film, and everyone proves to be delivering absolutely stellar work throughout the film, which is very much a credit to their exceptional willingness to take certain risks.

Drop is certainly a film that benefits most from being as uninformed as possible, since the majority of the impact is made through the surprises that persist throughout the film, and should therefore not be spoiled beyond what is entirely necessary. What is important to note is that realism is not a concern with this film – characters don’t act logically, there is a notable lack of consistency and continuity is far from a priority. Yet, we cannot help but be wildly entertained by this film, which is a tremendously captivating experience – it is rarely predictable (although it can’t be considered entirely unique either, since eagle-eyed viewers may be able to spot some of the more egregious attempts to conceal the narrative seams), and keeps us on the edge of our seats throughout. The reveal itself may not be the most interesting, since the tension leading up to the resolution is far more captivating, but even at its most frustrating, we can certainly understand the lingering appeal of such an approach, and how it effectively uses a range of ideas to create a certain atmosphere, flourishing into one of the more engaging and enthralling genre films of the year. Landon has made several notable horror and thriller films in the last few years, and while none of them can be considered revolutionary, his consistency in style and willingness to take a few risks do set him apart from the usual director-for-hire approach that we find defines these films, and allows Drop to be as wickedly entertaining as it is deeply enjoyable, a quality that has seemingly gotten lost as the genre has prioritised graphic violence, moving away from the suspense that previously defined these films and made them so incredibly compelling.