Movie Review: The Drop
What We Liked
What We Didn't Like
The Drop is a movie comprised of “almost” moments. It is almost a compelling gangster thriller. It is almost a beautifully realized love story. And, it is almost great.
Cousin Marv (James Gandolfini in his last role before his death) used to run a bar in his prime. He is now relegated to operating an establishment where gangsters make weekly drops in an attempt to launder money. Marv’s right hand man is Bob (the wonderfully understated Tom Hardy). Bob is aware of what is going on, yet turns a blind eye and facilitates the illegal activity. One night, a pair of masked hoodlums hold up the joint and steal the gangster’s money. This event brings about a load of trouble for all involved. The gangsters want their money back without getting the cops involved and they also would like to exact gruesome revenge on those responsible. In the midst of all this chaos, Bob finds a badly abused puppy in his garbage can and with the help of a lonely and emotionally scarred drifter, Nadia, (Noomi Rapace) nurses the animal back to health. Sadly, not much else happens during The Drop, a film cloaked in ambiguity
Michael R. Roskam, who doesn’t have many credits to his name, does a nice job directing the film by using his superb cast to carry along the rather straightforward story. Roskam employs muted tones and moody backlighting to create a taut atmosphere and uneasy tone. His biggest achievement is keeping the viewer off balance by utilizing two shockingly gruesome acts of violence in an otherwise tame film. For this very reason, we are never too sure if something horrific is lurking behind the corner. It’s a wonderful exercise in restraint that will more than likely go unnoticed.
The biggest shocker and perhaps let down is the film’s screenplay written by Dennis Lehane. He is the man responsible for the source material for the twisty narratives of Gone Baby Gone (2007), Shutter Island (2010), and Mystic River (2003). This time he is in the driver’s seat and writes the screenplay himself. It’s for this exact reason I was so disappointed that The Drop felt so prosaic. There are a few twists along the way, but nothing like we’ve come to expect from the author. The film actually feels like a piece of watered-down Lehane, which hopefully the author can correct if he wishes to adapt any more of his fiction for the big screen. The screenplay causes the film to limp along at times, when it should have pulsed with infectious energy given the cast and sure-handed direction.
Surprisingly, the film shines in the quiet moments, especially the scenes between Bob and Nadia. The characters are emotionally damaged and have their walls firmly in place. Yet in a film full of double-crossing, murder and revenge, it’s gratifying to see them start to warm up to one another. The awkward bond formed between Bob and Nadia is a refreshing departure from the meet-cutes and bumbling acts of mistaken identity saturating Hollywood today. The Drop is not marketed as a love story, but it is many times at its best when the two characters are silently expressing their attraction for one another. Bob and Nadia may never be the poster children for the stereotypical Hollywood relationship, but they are two damaged characters that deserve to find companionship and do so as this slow-burner of a film unfolds.
The Drop is not a masterpiece. It’s far too blasé to incite real excitement from the viewer. Unfortunately, Gandolfini plays a muted version of Tony Soprano and will not be seen as an Oscar contender. Bob and Nadia’s relationship is too mundane, although beautiful, to attract the attention of the casual viewer. And nothing all that exciting happens throughout the crime thriller that could’ve used more oomph. The Drop, although meager at times, cannot be called bad. It is a solid little film teetering on the precipice of greatness with a dynamite cast, great direction, but rather disappointing screenplay. It’s definitely worthy of being viewed, but decidedly at matinee prices.
Matt Santia
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