Bob Saginowski finds himself at the center of a robbery gone awry and entwined in an investigation that digs deep into the neighborhood’s past where friends, families, and foes all work together to make a living – no matter the cost.
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Polar sombre & existentiel, où 4 personnages rencontrent leur destin, autour d'un bar appartenant à la mafia tchétchène à New-York. Oeuvre maîtrisée du le belge ROSKAM, dont le 1r film BULLHEAD avait fait sensation.== Dark & existential, where 4 characters meet their destiny around a bar belonging to the Chechen mafia in New York. Mastered work of the Belgian ROSKAM, who made the sensation with his 1st film BULLHEAD.
Featuring three (now two, R.I.P. James Gandolfini) of the best 3.0 "Strong Silent Type" antiheroes types: Hardy, Schoenaerts & Gandolfini (Affleck was shooting "Gone Girl"). Guys that can have entire conversations with their backs turned to us, communicating solely with their movement (hands, gestures, mannerisms), gazes and ultimately with their torn/hurt silence(s). Men's men. Tom Hardy: the World's wettest dream ▽
Dennis Lehane has slowly become the number one apologist for the worst kind of bullshit conception of American manhood. Should we thank Tom Hardy for sneakily undermining him in this endeavor? What kind of manhood are we dealing w/ here? Let me proceed by asking another question: is Tom Hardly consciously playing the character as mildly retarded? Because the script in no way suggests this. I am genuinely curious.
This is a pretty solid crime drama. The stiff genre elements are elevated by slick writing and a great performance from Tom Hardy. James Gandolfini is enjoyable, but his character seems like a Tony Soprano facsimile. It gets a little preachy at times, especially the macho bloviations from the two main characters.
"There are some sins you commit that you cant come back from no matter how hard you try... Its like the devil is waiting for your body to quit. Because he knows that he already owns your soul. And then, I think, maybe, you know, there is no devil. You die, and God, He says: Nah, you cant come in. You have to leave now. You have to leave and go away and you have to be alone. You have to be alone forever."
"There are some sins that you commit that you can't come back from, you know, no matter how hard you try. You just can't. It's like the devil is waiting for your body to quit. Because he knows, he knows that he already owns your soul. And then I think maybe there's no devil. You die... and God, he says, Nah, nah you can't come in. You have to leave now. You have to leave and go away and you have to be alone."
A superbly scripted, shot and acted -- if familiar -- slow-burn character study. The modest scale is both refreshing and distancing; as with "Killing Them Softly," the events lack a crucial sense of urgency. However, "The Drop" has strong characters where that film did not. The cast is perfect. Gandolfini in particular is superb, in a more nuanced, rich turn than I expected. Also, James Frecheville, is that you?!
Following his beautiful debut, Bullhead, I anticipated director Roskam would blow us away with a larger budget, weighty cast, and great source material. Unfortunately, it was just... boring. Most performances were painfully derivative. Talk about typecasting. They were silhouettes. Even the talented Noomi had to play another scarred up wuss (see: Dead Man Down). Schoenaerts shines here, but not enough to save it.