Although Drop has a very enticing hook, there is more bubbling beneath the surface of our heroine. What begins as a somewhat simple plot, that could very easily be slid into the ‘dumb premise' category, gradually becomes an edge-of-your-seat thriller with an actual three-dimensional character. The technology used in the film does play a major part and follows along the trend of other recent horror-esque thrillers. But again, thankfully, Drop manages to stand apart and offers a little more than what we've seen before.

Violet, a widowed mother, has finally decided to go on a date with photographer Henry having met him on a dating app. During their date at a very upmarket restaurant, Violet is plagued with messages from an anonymous person. But as the evening goes on, the messages turn into increasingly violent instructions that she must follow, otherwise her young son and sister will be killed. All she has to do, is kill her date.

Drop doesn't ease you into the tension but rather starts in the middle. We learn very quickly that Violet survived an abusive marriage and had to fight back. We also learn that she has been very cautious about dating again so this date is a far bigger deal than we could understand.

Though set almost entirely in a singular location, the space is cleverly used. The world of the restaurant feels like a larger space and yet Violet, as she says at one point, feels like she's in a cage, still. The pressure from the threatening messages, the concern for her son and sister and yes, even about what Henry must think of her, all overwhelms her. The moment she nearly breaks and talks about her abusive husband makes her feel as if she never really got away. Although there are several moments of sheer willpower getting her to continue on, this confession of sorts to Henry makes Violet stand out from other leads in thrillers of a similar calibre. She is just a woman, who is still healing, still trying to move forward. It's also here that we forget that she's been trying to find a way to kill the rather understanding guy sitting opposite her. Then her suggestion shots bring us right back into the thick of it, that's the overall vibe of Drop. There's suspense, there is even a smattering of comedy but there is an emotional backbone to this entire ordeal.

As the central character, Meghann Fahy is fantastic. With much of the action and emotional trauma left on her shoulders, as well as having to cope with stress at all angles, she carries this film, she has us all enthralled.

Brandon Sklenar and Fahy thankfully have decent chemistry but unfortunately their energy isn't quite matched. Maybe it's the fact that Fahy has the more demanding role but the pace does seem to slow down when he's on screen.

It's not just the mismatched energy that lets Drop fall slightly. Violet interacts with a limited number of other people in the restaurant, thus limiting the pool of people who could be sending her those drops. That number cuts further when one person is killed off in an anticlimactic way. Maybe more deaths could have added to the suspense instead of sweeping this one under the carpet.

Pacing and missed opportunities aside, Drop is still very entertaining. The suspense throughout is there from the very first scene, and you know you'll be in for something highly stressful. The unexpected emotional backstory for Violet only adds to the overall arching theme of wanting to finally break free from past traumas. The fully formed character has you invested in not only whether she can solve this exaggerated puzzle, but also whether she makes it out of this ordeal.

Drop is in cinemas 11th April