Darren Aronofsky’s latest film, Caught Stealing, premiered to mixed reactions at CinemaCon in March 2024. The crime thriller, which aims to blend dark humor with a gripping narrative, stars Austin Butler as Hank Thompson, a bartender drawn into a web of crime in New York City. Despite its intriguing premise and a strong cast, the film ultimately struggles to deliver on its potential.
Set against the backdrop of 1990s New York City, the story follows Hank, a former baseball prospect whose dreams were shattered by a tragic accident. Now living in New York, he finds solace in a romantic relationship with paramedic Yvonne, played by Zoë Kravitz. However, their relationship is complicated by Hank’s unresolved emotional turmoil and a series of dangerous encounters with various criminal elements.
While the film attempts to inject humor into its narrative, it often falters in execution. Hank’s life takes a chaotic turn when he becomes entangled with Russian mobsters and a pair of hitmen portrayed by Liev Schreiber and Vincent D’Onofrio. These characters add a layer of unpredictability, but their impact is diluted by underdeveloped supporting roles.
The cinematography by Matthew Libatique captures the essence of New York, making the city feel like a character in its own right. The film’s visuals evoke the vibrant atmosphere of the late 1990s, yet the pacing leaves much to be desired. Despite running for a concise 107 minutes, the film often feels excessively drawn out, diminishing the suspense and excitement that a crime thriller typically promises.
While there are moments of intrigue, such as an unexpected plot twist, these are overshadowed by the film’s inability to maintain momentum. The stakes, which are crucial for engaging storytelling, do not resonate deeply with the audience. As the narrative unfolds, many viewers may find it difficult to connect with the characters, particularly when the most endearing presence in the film is Hank’s pet cat, Bud.
The performances throughout the film are competent, but few stand out as memorable. Matt Smith delivers an enjoyable portrayal of Hank’s punk-rock neighbor, Russ, while Butler brings a degree of charisma to his role. Yet, the lack of compelling character development hampers the overall impact of the performances.
Aronofsky’s venture into the realm of comedic crime drama is ambitious, yet it ultimately feels forced. The film aims to balance humor with the gravity of its subject matter but fails to strike the right chord. The closing credit sequence, animated and vibrant, contrasts sharply with the overall tone of the film, leaving audiences wishing for more of that flair throughout the narrative.
Overall, Caught Stealing is not a complete failure, but it underscores the challenges Aronofsky faces when departing from his signature style. With impressive production values, striking visuals, and some engaging moments, the film remains average in execution. Viewers may leave feeling that the film’s potential was not fully realized, a sentiment echoed in the final score of 6.0.
In conclusion, while Caught Stealing offers glimpses of promise, it ultimately struggles to deliver a cohesive and engaging narrative. The unique punk-rock aesthetic and vibrant animation in the closing credits serve as a reminder of the creativity that could have been woven throughout the film.
