In ‘Caught Stealing’, Darren Aronofsky takes a bold step into the crime thriller genre, showcasing a lighter yet engaging narrative that pays homage to New York City.
Caught Stealing Review: A Fresh Take on Crime Thrillers
Caught Stealing marks Darren Aronofsky’s venture into new territory, swapping his trademark psychological intensity for a more playful crime thriller. Unlike the operatic descent into darkness seen in Requiem for a Dream or the feverish paranoia of Black Swan, this film aims for mainstream entertainment. It strikes a balance between tension and humor, serving as a heartfelt tribute to the city that shaped him. As he described at the premiere, it is “a love letter to New York City,” and that affection is evident in every frame. Shot entirely on location, the movie captures the grit and character of late 1990s New York with an energy that feels both nostalgic and electric.
Austin Butler Shines as Hank Thompson
At the heart of the story is Austin Butler as Hank Thompson, a New York City bartender. He’s a charming screwup with a mild drinking problem and a tendency to get in over his head. When his punk-rock neighbor, portrayed by the entertaining Matt Smith, asks him to watch a cat for a few days, he inadvertently becomes entangled with gangsters and lowlifes who all want something from him. Butler is perfectly cast, convincingly embodying the everyman whose bad decisions escalate as his situation spirals out of control. His performance is deeply relatable, making the character easy to root for.
Unpredictable and Engaging
One of the film’s greatest strengths is its unpredictability. Just when you think you know where the story is heading, Aronofsky and screenwriter Charlie Huston introduce another twist that keeps the tension alive. The everyman angle works exceptionally well here. Hank is not a criminal mastermind or action hero; he is simply a guy trying to survive while chaos unfolds around him. This grounded perspective enhances the escalating danger, often adding humor. Watching an ordinary person navigate extraordinary situations gives the movie its pulse.
Familiar Yet Entertaining
Despite its engaging nature, the story feels somewhat familiar. Earlier this year, Novocaine explored a similar premise of an everyman caught in a dangerous web of crime. However, while Novocaine leaned into its surreal gimmick, Caught Stealing opts for a more straightforward approach. This lack of a high-concept hook makes Aronofsky’s film feel a bit conventional, even as it remains consistently entertaining.
Setting and Tone
The choice to set the movie in 1998 is intriguing, though it doesn’t significantly enhance the experience. There are a few period-specific details like payphones and shots of the Twin Towers, but the core story could easily unfold in the present day. While not a distraction, it feels more like a surface-level aesthetic choice than a meaningful narrative enhancement.
A Lighthearted Approach
What sustains the film is its sense of fun. Aronofsky, known for bleak dramas, delivers his most lighthearted film to date. Genuine laugh-out-loud moments are sprinkled throughout, often at Hank’s expense as he struggles to keep pace with the chaos. The humor never undermines the danger but adds a breezy quality that keeps the story engaging from start to finish. Even when the film takes darker turns, an underlying playfulness distinguishes it from the director’s earlier work.
Colorful Characters
The movie is populated with colorful side characters, each adding quirks that make the world feel larger and more vibrant. There are moments where you wish the script committed even more to the outrageousness of its setup. When it does indulge its wilder impulses, the film truly shines. Smith, although not on screen for long, steals the show with his full British flair. Regina King delivers a strong performance as Detective Roman, a character with depth beneath the surface. Zoë Kravitz adds the icing on the cake, while Vincent D’Onofrio and Liev Schreiber shine in their villainous roles.
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Conclusion
The film culminates in a superb setup and payoff, tying back to a traumatic event Hank experienced in the past. If the movie had leaned into more instances like this, it could have been even better. Overall, Caught Stealing may not be a groundbreaking crime thriller, but it is consistently entertaining. It knows what it aims to achieve and delivers enough style and personality to stand out. The blend of humor, tension, and unpredictability keeps the movie engaging, even when it treads familiar ground.
For longtime Aronofsky fans, this lighter, more mainstream approach may come as a surprise, yet it is a welcome change of pace. The director retains just enough of his darker tendencies to maintain real stakes while embracing a more playful, accessible tone, making this his most commercially appealing project to date. Butler proves himself a strong lead, carrying the story with a performance that balances charm and desperation.
Caught Stealing may not reach the artistic heights of Aronofsky’s best work, but it doesn’t need to. It is a smart, well-paced, and enjoyable ride through an authentic and vibrant version of New York. The film’s unpredictability and strong performances make it worth watching, even if it never fully embraces the outrageous potential of its premise. It is not perfect, but it is a solid entry in Aronofsky’s eclectic filmography.
SCORE: 6/10
As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.
Disclosure: ComingSoon attended the world premiere for our Caught Stealing review.
