The Drop

Stills of Tom Hardy pursing his lips at a puppy might have made Twitter melt, but The Drop did well to exchange its title from Animal Rescue. This is no cutesy romcom or inspirational adventure but rather a downbeat, character-driven crime drama set in a squalid neighbourhood of Brooklyn. Facial stubble and handguns are de rigueur, for this, as the opening voiceover goes, “is where all the things take place that you’re not allowed to see.”

Running bar for his Uncle Marv (James Gandolfini in his final huge-screen role), Bob Saginowski’s (Hardy) life turns upside down when he’s robbed at gunpoint. The money belongs to the Chechen mob – they were using Marv’s bar as the drop point for their bookmaking business – and Bob and Marv need to get their hands on $ 5K quick. Enter Twitter’s favourite pup, found by Bob in a trashcan on his way home.

The bin belongs to Nadia (Noomi Rapace), and the dog, it transpires, was stuffed there by her headcase ex Eric (Matthias Schoenaerts). Bob takes it home and starts a tentative friendship with Nadia, his actions certainly met by sinister visits from Eric and an escalating tension that promises violence.

The US debut of Belgian filmmaker Michaël R. Roskam (2011’s Bullhead), The Drop, based on Dennis Lehane’s fleeting report, melds European sensibilities with the tropes of an American crime picture. The dilapidated setting and its hardscrabble inhabitants are experimental with an outsider’s eye and an insider’s information, while the narrative simmers rather than bubbles over like so many Hollywood thrillers. Gandolfini, in Nike tracksuit and leather jacket, is as tough and tender as ever, and a hesitant, slouching, mumbling Hardy evokes Stallone’s Rocky and Brando’s Terry Malloy – perhaps a little too consciously.

Over-familiarity clings to The Drop, but it’s a crafted, admirable picture with a halo of hope around its melancholic heart – a melancholy deepened, of course, by Gandolfini’s passing.