Here are Cinephile Corner’s 10 recommendations for movies like Drop:
Echo Valley
Echo Valley isn’t a disaster—it’s handsomely shot, capably acted, and carries the skeleton of a compelling story. But the execution is underwhelming. With muddled direction, an emotional arc that doesn’t fully connect, and a central relationship between Julianne Moore and Sydney Sweeney’s characters that is more implied than developed, this Apple TV+ release lands closer to forgettable than impactful. It’s a film with some standout moments, but not nearly enough of them.
Read our full review of Echo Valley
Kimi
Kimi may be genre Soderbergh, but for him to pull this off only a year after No Sudden Move and stay operating during the COVID-19 pandemic is impressive. I’ve learned to just happily accept any Soderbergh projects and not take them for granted, and Kimi is another well above average outing from the director.
Carry-On
Jaume Collet-Serra wouldn’t seem like the next director to add to that list, given his recent track record with disappointing Dwayne Johnson vehicles like Jungle Cruise and Black Adam. However, his holiday thriller Carry-On defies expectations, moving quickly and building enough tension to make it a surprisingly worthwhile entry in the Netflix action canon.
Read our full review of Carry-On
Blink Twice
Blink Twice wears its influences on its sleeve, but for a directorial debut like this for Zoë Kravitz, I thought it was pretty commendable. The industry is begging for a few more genre filmmakers capable of projects that are equally fun and thought-provoking, and Kravitz is able to switch between one and another on a dime. The performances help elevate the material, too, which inevitably pushes Blink Twice over the finish line.
Read our full review of Blink Twice
Strange Darling
Strange Darling wears its influences on its sleeve. Director JT Mollner isn’t ashamed to let his inspirations be known as his latest thriller delivers twists and turns around every corner, and is told in a nonlinear fashion that makes it really hard not to think of a few classics. The likes of James Wan and Quentin Tarantino come to mind for these reasons, but Mollner’s Strange Darling doesn’t feel nearly as fresh as Saw or Pulp Fiction felt decades ago.
Read our full review of Strange Darling
Panic Room
While Panic Room may seem like less ambitious in scale compared to some of Fincher’s other works, the movie stands as a testament to his versatility as a filmmaker. From the moment the Altman mother-daughter duo are thrust into the claustrophobic depths of their panic room, the film becomes a relentless, punishing exercise in suspense and dread.
Read our full review of Panic Room
We Have a Ghost
No need to beat around the bush on this one, We Have a Ghost is a shockingly bad movie. Netflix hasn’t developed a great reputation for thoughtful and cared for original films, but this seems to continue to push the bar lower and lower. Another movie that Netflix should’ve never brought to TV screens.
Read our full review of We Have a Ghost
Companion
I went into Companion completely blind, and that’s the best way to experience it. Drew Hancock’s directorial debut thrives on twists, constantly reinventing itself in ways that keep the audience on edge. The film shares DNA with Barbarian, which makes sense given that Barbarian director Zach Cregger serves as a producer here. Both films pull the rug out from under viewers, placing their protagonists in escalating danger with seemingly no way out. But as was the case with Barbarian, discussing Companion without spoilers is nearly impossible—so consider this your warning.
Read our full review of Companion
Knock at the Cabin
The concept behind Knock at the Cabin is fairly simple, as many of M. Night Shyamalan’s movies are. A couple and their daughter are at a remote cabin when a set of strangers sets upon their location. It’s made known to them that they must choose a sacrifice from their own family to prevent the apocalypse. Despite the well-mannered and caring demeanors of the intruders, they insist that this sacrifice must be made in order to save the world.
Read our full review of Knock at the Cabin
Another Simple Favor
Another Simple Favor isn’t just a misfire—it’s a symptom of the growing problem with streaming-era content. What once felt like an opportunity to tell smaller, riskier stories has increasingly become a dumping ground for shallow IP extensions that lack any creative spark. This is not a thriller. It’s not even really a movie. It’s plain, dull, and disposable “content.”
Read our full review of Another Simple Favor
READ MORE: Drop (2025)
