THE DROP – The Review

Smoky bars and rundown, vacant buildings are surrounded by cheap shacks that barely pass for homes… and I haven’t even begun to describe the people. But I think you can imagine the occupants in this universe. The film-noir genre has taken a journey into even seedier territory over the years. Gone are the days where you have fast-talking detectives and two-timing gals. Now we are treated to a world of cops and crime that is caked in a thick layer or dirt, grime, and blood. Films like GONE BABY GONE, EASTERN PROMISES, THE TOWN, OUT OF THE FURNACE, and KILLING THEM SOFTLY, all have recently focused on crime and corruption on the working-class level of society. Is “poor-noir” an apt description? What about “working-class noir?” At any rate, this is a trend that Belgian director Michael Roskam also explores with his new film THE DROP. Roskam previously garnered a much-deserved Oscar nomination for his film BULLHEAD – which starred Matthias Schoenaerts who also plays an effectively intimidating figure here in Roskam’s new film. Most will make note that this is James Gandolfini’s last time on the big-screen, but unfortunately Tony Soprano’s swan song is featured in a flat and dreary crime film that attempts to tell a tale of redemption and puppy love.

At night in Brooklyn, a crime ring funnels money through dirty hands to an ultimate “drop” bar. Each week the location is different. Unfortunately for Bob (Tom Hardy) and Marv (James Gandolfini), they happen to be the bar that two low-life thugs rob one night. The investigation, led by Detective Torres (John Ortiz from SILVER LININGS PLAYBOOK), creates heat for Bob and Marv and the Chechen Mafia who control the money and the bar. While walking home on the night of the crime, Bob comes across a beaten dog placed in the trashcan of Nadia’s home (Noomi Rapace). Bob soon finds himself fighting to protect the dog from his former owner and recently released convict Eric Deeds (Matthias Schoenaerts).

Tom Hardy once again proves why he’s one of the best actors working right now. Even though his character is rather static and understated for the majority of the film, Hardy creates a voice to this quiet soul that fills in some of the blanks that the story fails to fill-in for us. He’s a soft-spoken guy who frequently displays a bewildered expression. I was hoping for more of a dynamic character to push the film along, but at least Hardy gives us something to chew-on with another great vocal performance – to continue his journey through unique inflections as previously heard in THE DARK KNIGHT RISES, LAWLESS, and this year’s LOCKE.

Dennis Lehane has crafted some rich narratives on paper that have run the gamut for on-screen adaptations, from the award-winning MYSTIC RIVER, to the over-looked GONE BABY GONE, to the overwrought SHUTTER ISLAND. A short story serves as the jumping-off point for THE DROP, and Lehane is left to handle screenwriting duties here as well. This would typically be a good sign considering Lehane’s reputation, but the material leaves something to be desired as the characters often circle the same subjects in conversations round and round again. Their interactions on screen feel more like padding than actually enriching the plot.

I actually like Roskam as a director, but here he lets the material guide the film – or lack thereof – instead of being the driving force behind the film. He’s adheres so closely to the script that I often found myself wanting to re-edit the film in a manner that would be more appropriate for Roskam’s style. A small dose of his visual flare comes through finally in the closing bar sequence as envelopes exchange hands and across mirrored counters in a mesmerizing rhythm, but it ultimately feels a little too late to ignite a spark to the story. Not to mention a late in the game change in the personality of one of the character arrives completely unannounced in a cheap and all too convenient way; once again, in an attempt to create some form of spark in this drab affair.

The fact that THE DROP delivers so little without much gusto, mixed with the fact that it feels so familiar while bringing nothing new to the table, makes for an unexceptional film with a stellar cast. From Rapace, to Gandolfini, to Hardy, all three of our main leads act like lost and beaten puppies left abandoned in the night – the symbolism of the dog in the film is certainly not lost on me. However, a mediocre script handed to a talented cast and crew can only go so far to create a film to stand out from the pack. In this case, THE DROP doesn’t have much of a dog in this fight.

Overall Rating: 2.5 out of 5

THE DROP is now playing in theaters everywhere