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.
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.
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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