The-Drop-movie-image

The Drop (2014) 3.52/5 (3)
3.52/53

 

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Rating: The Good – 69.8
Genre: Crime, Thriller
Duration: 106 mins
Director: Michaël R. Roskam
Stars: Tom Hardy, Noomi Rapace, James Gandolfini

James Gandolfini’s final film sees him play a former small time gangster now running a bar for the Chechen mob which doubles as a drop point for their nightly collections. When the bar is robbed, his bartender and younger cousin “Bob” (Tom Hardy), who is simultaneously being drawn into a strange game of cat-and-mouse with a local psychopath, begins to betray his understated appearance by taking control of both situations in contrasting ways. It’s a complicated plot made nicely ambiguous by Hardy’s outwardly soft character and nervous demeanour. But it’s the dissolution of that ambiguity which ultimately gives The Drop its cutting edge and ties the disparate plot strands together in intimidating style.

Though Gandolfini’s “Cousin Marv” amounts to a support player, he’s central to the movie’s permeating pessimism. It’s the type of turn we had come to expect from the dexterous old pro, a sophisticated blending of pettiness, ego, ruthlessness, and humanity that serves as a final reminder of his tremendous depth as an actor. Hardy continues to hold his own with the best in the business by adding yet another unique personality to his repertoire and he rather delicately drives the film with the subtle detail to his sympathetic “Bob”.

Ultimately, Belgium director Michaël R. Roskam’s film spins a dark and unforgiving yarn that forges new ground in the crime genre but repels as much as it seduces. Nicolas Karakantsanis’ bleak photography dull with pitched yellows and browns  sets much in the way of tone but, like Dennis Lehane’s (Mystic River, Gone Baby Gone) screenplay, it lacks heart. As the movie progresses, it intrigues beyond any initial expectations but struggles to carry us. As with its visual profile, the personalities are just too harsh. Naomi Rapace’s would-be love interest threatens to turn things around at a couple of junctures but ultimately she, like the story’s potential for genuine emotional resonance, is a little wasted.

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