Watch The Drop Movie Online Download, The movie’s shambling nature runs to the end credits as The Drop cycles through three different endings in the hopes of finding a grace note to a picture that never had much of a tune.  The Drop is about as deep as a trailer or poster.  It’s an idea of a movie with a wisp of an execution.  It’s brazenly mediocre in almost every single way.  It’s a movie that’s worth watching if you’re on one of those older airplanes that doesn’t let you choose the programming.  Or you could just enjoy this picture.
When I wrote from Toronto last year about James Gandolfini's appearance in "Enough Said," I tried to stress it was not his last film, just his last lead role; I knew another movie, "The Drop," was still to come.

It's a shame the order wasn't reversed.

It's not that "The Drop" — which premiered at this year's Toronto film fest — is a bad movie, or because Gandolfini's part here is strictly supporting. It's that he's playing another bad guy — Marv, a one-time loan shark who's fallen, badly, and now presides over a dive bar.

He has his moments — mostly of bitter regret — but Marv is someone we've met before, a minor player from Sopranos-land.

Anyway, the real protagonist here is Marv's bartender, Bob, pulling beers and shoveling snow. He's not too bright, frankly, but he likes animals — and Nadia, the sallow, slightly withdrawn woman who lives in his neighborhood. (He's like "Rocky," but without the training regimen.)

But then things start to get complicated.

Marv's bar gets ripped off, something the gangster owners don't appreciate. A loony hoodlum shows up — an ex-boyfriend of the sallow woman — and begins making threats. And then the cops start hanging out, looking to solve things.

Which is all wrong. In this neighborhood, guys like Marv and Bob — they solve things themselves.

A problem with "The Drop," though, is that the neighborhood's changed, literally. Dennis Lehane typically writes about his native Boston, particularly the insular, angry, Irish sections; this movie (which he wrote) transports that world to Brooklyn.

There were parts of Brooklyn that once felt like this, and there may be small pockets now — but on-screen the movie's all-Catholic, blue-collar borough feels a little stuck in a time-warp.

Which is a problem because Lehane's greatest strength is his sense of place. You can easily pick apart his plotting (I still get questions from readers about "Shutter Island," and the logic in "Mystic River" and "Gone Baby Gone" took some perilous leaps) but you can't deny he knows those mean streets.

And we don't have that here.

But we do have Gandolfini, who is terrific, and as Nadia, Noomi Rapace, who continues to do interesting, edgy, almost hostile work. As Bob, Tom Hardy is more problematic — he seems to overdo the harmless, hulking dope bit at first, slow on the uptake, slower still on the response.

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