September 12th, 2014       Posted by Frederik       Display Comments

“The Drop” will be released in the USA today. The critics have been favorable for the film. While some think the story isn’t all too know, all critics seem to be certain that a) James Gandolfini is given a fitting character and delivers a great performance in his last role on film and that b) Tom Hardy is and remains one of the best actors of his generation. There have been some nice words about Noomi’s performance as well, so have a look at the reviews below and more after the cut.

Rolling Stone, Peter Travers (September 11, 2014)
Working from a taut script by Dennis Lehane (Mystic River), director Michaël R. Roskam (Bullhead) makes every brutal, bracing minute count as Bob takes a stand with the help of a damaged woman (a very fine Noomi Rapace) and a rescued pit bull […] Though The Drop covers familiar ground, it simmers with charged emotion. The image that lingers belongs to Gandolfini. Marv sits in his armchair, remembering his days as top dog. “I was respected,” he tells Bob. “I was feared. That meant something.” It also means something to watch the actor who embodied the contradictions of Tony Soprano bring such gravitas to what would be his last screen hurrah.
The Telegraph, Tim Robey (September 11, 2014)
Schoenaerts, John Ortiz as a cynical cop, and a never-better Rapace lend a lot of grit and magnetism. But it’s Hardy’s performance, above everything else, that sneaks up on you. Following his sterling work in Locke, this trudging, subdued characterisation is another mettle-testing triumph.
The New York Times, A.O. Scott (September 11, 2014)
There is nothing especially believable about “The Drop,” but it is credible enough to be moderately entertaining, and vice versa.
USA Today, Claudia Puig (September 11, 2014)
The Drop is a taut yarn that bides its time. Slow-burning tension, dark wit and superlative performances will keep audiences captivated. And who can resist an animal rescue?

Entertainment Weekly, Jeff Labrecque (September 11, 2014)
Gandolfini is still dangerous, wielding that Tony Soprano sideways glance like a shiv, and his final simmering scene with Hardy evokes Lee J. Cobb and Marlon Brando in On the Waterfront. Unfortunately, their relationship takes a backseat to Bob’s romance with Nadia (Noomi Rapace), whose connection to the puppy brings him all sorts of trouble. While Gandolfini fills in the gaps and silences, Rapace never colors in her underwritten character, making her a glorified MacGuffin who hangs around far too long.
New York Post, Lou Lumenick (September 11, 2014)
Well-directed by Michaël Roskam from a screenplay Dennis Lehane adapted from one of Lehane’s short stories, the darkly funny “The Drop’’ is a fitting coda to Gandolfini’s all-too-short career.
The Boston Globe, Mark Feeney (September 11, 2014)
Noomi Rapace is Bob’s sort-of love interest. She’s largely wasted in the part — not that it’s much of a part — but there are flashes where you can see why Rapace took over “Prometheus” (2012) and made for such a memorable Lisbeth Salander in the Swedish adaptations of Stieg Larsson’s Millennium trilogy. But it’s Hardy’s movie.
The Los Angeles Times, Kenneth Turan (September 11, 2014)
Three of Europe’s most formidable actors — Tom Hardy, Noomi Rapace and Matthias Schoenaerts — crossed the ocean to play residents of that celebrated borough in this taut criminal drama directed by yet another European, Belgium’s Michael R. Roskam. While “The Drop” has an enviable feeling for the dark end of the street, the kind of across-the-board success it’s seeking remains just out of reach.
Salon, Andre O’Hehir (September 11, 2014)
“The Drop” is a bloody and downbeat fable whose final twists are not going to send you out of the theater humming the “Ode to Joy” or anything. But I found this dark odyssey through an amoral dream Brooklyn curiously invigorating; it’s a masterful construction that held me rapt from first shot to last, that builds intense electrical energy and then releases it. While it’s heartbreaking to see the grace and grief and tragedy of Gandolfini’s final performance and realize that he’s gone, it’s one hell of a movie to go out with.
Daily Herald, Dann Gyer (September 11, 2014)
British actor Hardy continues his astonishing record of diverse and nailed-down characters. His Brooklyn Bob looks, moves and sounds as authentic as Rocky Balboa in Philadelphia, a working-class stiff smart enough to stay out of trouble, yet smart enough to know when to deal with it. Rapace’s tough, recovering victim nicely complements Hardy’s bartender. (Strangely, neither character has any friends, family or co-workers for emotional support.) “There are some sins you commit that you can’t come back from,” Bob observes. And that’s when you run into the guys you never see coming.