In Michaël Roskam’s second feature, “The Drop,” the central plot points involve an adorable puppy and brutal violence. It is a weird combination that allows the film to distinguish itself from the average crime film.

Bob (Tom Hardy) is a Brooklyn bartender who finds an injured puppy in the trash and begins to care for it with the help of Nadia (Noomi Rapace). That sounds simple enough, but that is only half of the film. The other half is about the criminal activities linked to the bar where Bob works. With the help of former bar owner and Bob’s cousin Marv — played flawlessly by the late, great James Gandolfini — the two handle money drops for criminal organizations in Brooklyn.

“The Drop” is based on a short story by best-selling mystery writer Dennis Lehane (“Mystic River,” “Gone Baby Gone”), and was adapted by Lehane himself. Unlike Lehane’s fiction writing, the film is smaller in scale and more intimately concerned with characterization.

In a surprise performance, the film’s most valuable player is Hardy. He channels his inner Ryan Gosling to create the broodiness needed to play his lonely, sometimes-detached character. The demeanor he exudes in “The Drop” transforms Hardy’s commercial image into one of a seasoned actor. His mannerisms, which include an uncharacteristic softness, show that Hardy truly connects with his character.

Boasting a performance almost as layered as Hardy’s, James Gandolfini does some of his best work in his final film role. The banter between Hardy and Gandolfini is such a joy to watch that it elevates any scene where the two are in conversation. Though it is a shame that it is Gandolfini’s last role, his dynamic with Hardy makes it memorable.

The supporting cast does not reach the heights of the two leads, but it is still formidable. Noomi Rapace plays her role to her best abilities, but her reformed drug addict yearning to leave her dark past behind is too familiar. It is irritating that the one major female role does not stand out, even with a great actress at the helm.

Unlike the misused Rapace, John Ortiz, James Frecheville and Matthias Schoenaerts (the lead in Roskam’s first feature “Bullhead”) all stand out, even with little screentime.

But “The Drop” is not just about its performances. The opening shot of the Brooklyn Bridge reflected in a puddle at night sets the scene for an impressively photographed film. Some creative shots of the money drops make the repetitious, remedial task feel engaging. Occasionally, the film has its missteps — handheld shots meant to create paranoia are cliché — but, for the most part, “The Drop” is handsomely shot.

Occasionally, “The Drop’s” story is not as compelling as it could have or should have been. Luckily, two outstanding performances by Hardy and Gandolfini make up for it. Although the film’s clichés may hinder it from being great, the performances and unique character work make “The Drop” worthwhile.

A version of this article appeared in the Thursday, Sept. 11 print edition. Email Jim Muntisov at [email protected].