2025 has had a rough start to movies. While most contemporary audiences are likely still discussing the financial and critical failure of Marvel’s “Captain America: Brave New World” or laughing over the “chicken jockey” memes from “A Minecraft Movie,” it’s safe to say that original flicks are not rising to the top of the conversation. Two films so far have stood out to me from these first few months of the year, both are horror: Christopher Landon’s “Drop” and Steven Soderbergh’s “Presence.”
Perhaps more of a supernatural psychological drama than a straight horror, “Presence” follows a wealthy suburban family as they move into their new home. The title refers to the viewpoint of the audience, where the entire narrative is told through the perspective of an invisible presence that stalks and taunts the family during their initial days settling into the house.
“Presence” is a very cool experiment, playing with form and tension in a way that feels both deliberate and engaging. The film builds an eerie atmosphere that’s only occasionally undercut by a few contrived moments, but overall it maintains a strong sense of unease. Long takes and theatrical scene transitions give it a distinctive rhythm, adding to the feeling that you’re watching something carefully constructed yet unpredictable.
What really anchors the film is Soderbergh’s trademark efficiency—his direction is tight, controlled and unshowy in the best way. There’s also a refreshing self-awareness running through the film, especially in its cultish tone and shaky emotional undercurrents. It’s also a genuine pleasure to see Lucy Liu with a real role to chew on; she brings a grounded intensity that elevates every scene she’s in.
“Drop” follows Chicago therapist Violet Gates (Meghann Fahy), who goes out on her first date since the death of her abusive husband, only to begin receiving increasingly threatening messages from an anonymous digital tormentor through images from AirDrop. Trapped in a high-rise restaurant, Violet must navigate a web of surveillance, manipulation and danger while trying to protect her young son, who is being held hostage at home. As the night escalates, she discovers a political conspiracy tied to her date and realizes she must outsmart a killer to save her family. The evening spirals into a deadly confrontation, testing Violet’s resolve and resilience in the face of terror.
This film is both effective and compelling, drawing you in with its smooth pacing and emotionally tense storytelling. While I found the ending a bit odd and abrupt, I can easily forgive it given how meticulously crafted every scene leading up to it is—each moment flowing like butter. Meghann Fahy, who was incredible as Daphne in “The White Lotus” season two (arguably the best show on TV), is once again perfectly cast. She’s sharp, expressive and utterly magnetic on screen, embodying a character trapped in a constant Catch-22. Her performance brings a powerful emotional depth to the role, as the real horror lies not in jump scares or gore, but in her character’s constant struggle to explain the unexplainable while trying to shield herself from devastating personal consequences.
What elevates the tension even further is how the film weaponizes modern communication. The protagonist’s constant connection to her phone becomes a source of dread rather than comfort. Each dramatic and oversized text message crashes onto the screen feels like a jolt of anxiety. It’s a smart and contemporary take on psychological horror, where the tech we rely on most becomes part of the trap. The stakes throughout feel high, and the immaculate pacing ensures that there’s never a dull moment.
If you want to see new horror films that adjust well to the overly digital world of cinema today, I thoroughly recommend “Presence” and “Drop.”
