Darren Aronofsky Takes a Detour in Hyperviolent ‘Caught Stealing’

Darren Aronofsky Takes a Detour in Hyperviolent ‘Caught Stealing’

By Alex McPherson

As it descends further into chaos, director Darren Aronofsky’s crime thriller “Caught Stealing” becomes increasingly muddled; it’s a grimy, mean-spirited film that’s effective in spurts but remains dazed by (literal) hit-or-miss sensibilities.

Based on the book of the same name by Charlie Huston (who also wrote the screenplay), “Caught Stealing” follows 20-something Hank Thompson (Austin Butler), an aimless, alcoholic man tending bar in New York City’s Lower East Side circa 1998.

Hank grew up in a small town in California hoping to become a major league baseball player. At one point years ago, he was close to achieving that dream — but the possibility was shattered when Hank was in a drunk driving accident that resulted in a career-ending knee injury and the death of his teammate.

Cool and sociable, but remaining wracked by a past that he’s too scared to address, Hank carries on well enough in the Big Apple, finding some purpose amid the eccentric clientele of his dive bar, his friends-with-benefits relationship with EMT Yvonne (Zoë Kravitz), and his continued passion for the San Francisco Giants.

Hank’s tenuous stability is threatened by his mohawked, punk-rock neighbor Russ (Matt Smith), who entrusts Hank with caring for his feisty cat, “Bud” (Tonic the Cat), while he visits his ailing father in London. Hank confronts two unhinged Russian mobsters trying to break into Russ’s apartment, and they insist that Russ gave Hank something they want.

Hank is subsequently beaten to a pulp, losing a kidney in the process, along with any hope of peace and safety. Turns out Russ is involved in some shady business with the Russian mob and, more troublingly, the cutthroat Hasidic Drucker brothers (Liev Schreiber and Vincent D’Onofrio), who — as sympathetic but shady narcotics detective Roman (Regina King) informs him — he does not want to encounter if he wants to make it out alive.

Thus begins a blood-soaked comedy of errors with a high body count, as Hank encounters various idiosyncratic people throughout NYC who could quickly end his life.

When the stakes are tragically raised and a large sum of money comes into the picture, Hank must stand up for himself and fight for those he cares about, in a nihilistic crime thriller that also finds room to be resolutely pro-cat in between the grisly violence and frequent bursts of smugly anarchic humor.

“Caught Stealing” represents a departure from Aronofsky, who previously directed such films as “Black Swan,” “Mother!,” and, most recently, the emotionally cruel “The Whale.”

This film, on the other hand, takes a more traditionally entertaining approach, albeit not shying away from brutal beatdowns, crossfire casualties, and traumatic flashbacks.

Aronofsky maintains a tongue-in-cheek tone throughout the carnage, whisking us along to new, high-stakes scenarios as Hank fumbles his way through an increasingly convoluted story that prioritizes momentum over depth, becoming a compulsively watchable crime genre pastiche with little actual meaning.

Fortunately, the film’s ensemble and tactile stylings lift it above the story’s limitations. Butler is a near-perfect lead here, bringing a swagger belying palpable hurt that lends pathos to a character whose traumas are hammered home with obvious force.

Aronofsky and cinematographer Matthew Libatique keep the camera close to Butler, his facial expressions highlighting Hank’s “evolution” in a richer way than the screenplay affords.

Butler’s raw physicality and vulnerability suit the character well, making Hank’s repeated near-death escapes and ability to withstand gratuitous punishment easier to buy into, if only just.

Butler and Kravitz also have red-hot chemistry, particularly in the beginning when Aronofsky lets us sit with these characters for a bit before things spiral out of control. Smith gets time to shine as the perpetually disoriented, live-wire Russ, who slings a near-constant stream of obscenities and has a rather jumpy trigger finger.

Other turns from King, rapper-turned-actor Bad Bunny, and, especially Schreiber and D’Onofrio (clearly relishing their roles) help keep energy high and the film intermittently amusing through its twists and turns. 

“Caught Stealing” doesn’t have the patience to flesh out these characters organically, though; they’re fairly well-drawn but are quickly subsumed into the convoluted machinations of a plot that refuses to slow down once the first punch is thrown.

That’s not necessarily a negative — Aronofsky ensures the film always has some harsh spectacle waiting around the next corner, framed with a gnarly eye and complemented by production value that convincingly transports us back in time to the squalid city streets and dingy locales (although the setting is used more as a backdrop than a key part of the narrative). 

What the film can’t escape is a prevailing sense of pointlessness beyond in-the-moment thrills. “Caught Stealing” becomes rather generic by the end, neatly tying up its threads and rushing through a typically far-fetched climax.

For all its gruesome violence, self-satisfied humor, and sporadic moments of strange earnestness, Aronofsky’s film lacks a true “standout” element, eventually blending together and fading away once the credits roll (the credits are depicted with more eye-catching visual flair than most of the film itself).

But at least Aronofsky is trying something new, even if “Caught Stealing” is far from a clean getaway.

“Caught Stealing” is a 2025 darkly comedic action thriller directed by Darren Aronofsky and starring Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne and Carol Kane. It’s rated R for strong violent content, pervasive language, some sexuality/nudity and brief drug use, and the run time is 1 hour, 47 minutes. It opens in theatres on Aug. 29.Alex’s Grade: C+

Austin Butler Drives Dark Comedy Action Thriller ‘Caught Stealing’

Austin Butler Drives Dark Comedy Action Thriller ‘Caught Stealing’

By Lynn Venhaus

Two lethal Hasidic Jews, two Russian mobster goons, a Latino gangster and a tough-talking cop walk into a grungy East Village bar in 1998 New York City, and mayhem ensues in a fast-paced bloody treasure hunt “Caught Stealing.”

Henry “Hank” Thompson (Austin Butler), a former jock who could have had a shot in the major leagues, is now tending bar in New York City’s Lower East Side, drinking way too much and tormented by what might have been. His neighbor Russ (Matt Smith) asked him to take care of his cat while he heads home because his father had a stroke. Without warning, Hank becomes embroiled in the criminal underworld.

Inexplicably, unlucky Hank’s life becomes a living hell. Butler, with his movie star charisma,  drives the film’s energy as the former golden boy tarnished by a messy life.

Embroiled in a violent “Wrong Man” type scenario, he leads a strong ensemble cast as disparate as mohawked Matt Smith as the Brit punk neighbor, Regina King as the hardboiled detective, Liev Schreiber and Vincent D’Onofrio as machine gun-toting Hebrews with Carol Kane as their Bubbe, a grungy Griffin Dunne as grizzled bar owner Paul, and feisty Zoe Kravitz as his charming paramedic girlfriend Yvonne.

Zoe Kravitz, Austin Butler.

Butler and Kravitz click with tangible chemistry, and the cast digs into the quirky characters developed by author Charlie Huston, in his Hank Thompson mystery trilogy, who also wrote the screenplay.

Because Huston followed his 2004 “Caught Stealing” with 2005’s “Six Bad Things,” and 2006’s “A Dangerous Man,” can a sequel be far behind? (In case you are wondering, Huston is the grandson of legendary film actor and director John Huston and nephew of actors Anjelica Huston and Danny Huston.)

That’s the thing about a book adaptation. We don’t get the rich backstories of what’s going on in people’s heads – it’s up to the cast to convey, with nuance and depth, their inner lives.

Director Darren Aronofsky, leans more into the bullets flying and full-throttle chaos and less into character development as we’re quickly plunged into this darkly comedic-action thriller with a high body count —similar to “Bullet Train” three years ago.

Regina King, Austin Butler.

As a summer wild ride that knocks off pieces of “John Wick,” “After Hours” and any Quentin Tarantino -Guy Ritchie crime caper is light on original style but heavy on unpredictable, but it suffices as an easy-to-digest movie relying on cast appeal.

The humor is interspersed with gruesome killings, so the tonal whiplash shift doesn’t always work.

Aronofsky, who has helmed “The Whale,” “The Wrestler,” “Black Swan,” “Noah” and “Requiem for a Dream,” may seem like an odd fit, but he nails the scruffiness of late ‘90s NYC.

Of course, he benefits from cinematographer Matthew Libatique’s keen eye for detail in Pre-Millennium times, and winks by including some of his favorite spots like the long gone Kim’s Video.

Crackerjack editing by Andrew Weisblum, accompanied by a pulsating score from Rob Simonsen, also helps with the atmosphere. 

Matt Smith, Butler.

Haunted by his past, including a career-shattering drunk driving accident  15 years ago, that fuels Hank’s decisions and re-occurring nightmares. He deals with a reckoning through the film that is only touched on, but developed more in the books.

A California transplant who roots for his beloved San Francisco Giants and talks to his devoted mother (Laura Dern, in uncredited cameo) almost daily, Hank is likable but has issues he needs to address.

The pair of bald thugs who first roughed him up (Nikita Kukushkin and Yuri Kolokolnikov) are relentless, then they are joined by an enforcer (Bad Bunny) with a time-stamped ultimatum.

Trying to stay alive takes precedence for Hank as his loved ones are in danger, and he must see an endgame, but it doesn’t seem in sight. These plot threads keep unraveling, leading to tedium.

Liev Shreiber, Vincent D’Onofrio, Butler.

With all these colorful characters, one appreciates their contributions, but the chase becomes a labyrinth, and the film starts running out of gas.

Still, more surprises are in store. Yet, the cat named Bud is a reliable scene-stealer (Tonic, from “Pet Sematary” reboot).

“Caught Stealing” is a rough ride, depending on how you tolerate violence.

However, Butler proves himself as a certifiable leading man, Oscar nominated for “Elvis” and trying hard to show a range (“Dune,” “The Bikeriders,” and Eddington”). He is such a winning presence as Hank that you want to follow him on his journeys. They set up the ending for a sequel.

Wherever Hank and Bud go, you hope they go together. And you can sense they will be magnets for trouble. And there’s enough of a crime caper here to keep us turning in an imperfect summer throwaway.

“Caught Stealing” is a 2025 darkly comedic action thriller directed by Darren Aronofsky and starring Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne and Carol Kane. It’s rated R for strong violent content, pervasive language, some sexuality/nudity and brief drug use, and the run time is 1 hour, 47 minutes. It opens in theatres on Aug. 29. Lynn’s Grade: B-

Shrewd Helen Mirren Is Transformed into ‘Golda’ for Ordinary Drama

Shrewd Helen Mirren Is Transformed into ‘Golda’ for Ordinary Drama

By Lynn Venhaus
Known as “The Iron Lady of Israel,” Golda Meir was a shrewd, smart, intuitive and empathetic leader during a tumultuous time. The film “Golda” focuses on three horrific weeks when her country was in serious jeopardy, and the decisions she made then.

During her term as prime minister from 1969 to 1974, Meir not only had to deal with the surprise attack by Egypt and Syria in 1973, but also the tragic deaths of 11 Israeli athletes at the Munich Summer Olympics in 1972.

Set during the tense 19 days of the Yom Kippur War in 1973, Meir (Helen Mirren) must navigate overwhelming odds, a skeptical cabinet, and a complex relationship with the U.S. Secretary of State Henry Kissinger (Liev Schreiber). Millions of lives are in the balance.

In a cloud of cigarette smoke, Mirren is transformed into the Ukrainian-born head of state, who lived in the U.S. in her younger days, and became a prominent activist and politician after moving to Palestine with her husband in 1917. She was one of two women who signed Israel’s declaration of independence in 1948.

Meir is a fascinating historical figure, but you won’t find out her backstory or much information about her life other than the period the movie focuses on, which is detrimental to its appeal. But Mirren depicts her revered toughness without being showy.

The 78-year-old actress is practically unrecognizable, with an expert job done by Karen Hartley on hair and make-up design and Suzi Battersby on prosthetic design. Hunched over, defiantly chain-smoking (up to and after her cancer treatments), and walking in comfortable orthopedic shoes, Mirren assumes the persona as a courageous, maternal grandmother.

She’s not the only Oscar winner to tackle playing Golda. In her final role, Ingrid Bergman won an Emmy for the 1982 TV-movie “A Woman Called Golda,” and Anne Bancroft played the role in William Gibson’s play on Broadway.

With its focus on the maneuverings in The War Room, we only hear the terrified cries of soldiers in combat, and don’t see that action up close and personal. That’s director Guy Nattiv’s choice, but the film feels remote and stodgy without war scenes.

He specifically uses cigarettes and the act of smoking as part of the storytelling, and overflowing ashtrays are meant to signify passage of time. But the billowing smoke becomes distracting, and its heavy use debatable.

Nattiv may have intended his film to be more like a thriller, but its serious-mindedness turns it dull at times. He and his wife, Jaime Ray Newman, won an Academy Award in 2019 for their short film “Skin,” which looks at a reformed neo-Nazi and racism.

Screenwriter Nicholas Martin, who wrote the 2016 movie starring Meryl Streep as socialite singer “Florence Foster Jenkins,” concentrates on the complex Meir’s total commitment to her country. He chronicles Israel’s course of action during the crushing losses, makes it personal, and touches upon the career-ending controversy by showing the Agranat Commission investigating Meir regarding the high number of casualties: 2,656 dead soldiers and 7,251 injured; 294 prisoners of war had been captured by the enemy

Nattiv uses archival footage sparingly to give us the bare minimum of facts.

In a brief but pivotal role, Liev Schreiber portrays U.S. Secretary of State Henry Kissinger as an ally helping to negotiate peace, but with steely resolve, Meir gets the support and assistance she wants in a face-to-face meeting at her modest home.

Camille Cotton is memorable as compassionate longtime personal assistant Lou Kaddar.

Rami Heuberer is Defense Minister Moshe Dayan, who was blamed for the unpreparedness of the Israeli Army, decimated by invading Syrians and Egyptians, and this ended his career as well.

The supporting cast includes other advisors – Lior Ashkenazi as Chief of Staff David “Dado” Elazar and Ohad Knoller as Field General Ariel Sharon (a future prime minister), as they hash out strategies.

The string-heavy score by Dascha Dauenhauer underscores the high stakes and the human toll. And this story takes place in the early ‘70s, so the sound design by Niv Adiri to make it sound authentic is noteworthy.

Meir died in 1978, at age 80, from lymphoma. She lived long enough to witness the infamous Camp David Accords that led to a peace treaty signed by Israel’s Prime Minister Menachim Begin and Egyptian President Anwar Sadat with President Jimmy Carter.

While Mirren’s performance as a major historical figure is praise-worthy, the film is a missed-opportunity drama. In theory, it should have been more captivating, and in execution, much more dramatic and gripping.

“Golda” is a 2023 biographical historical drama directed by Guy Nattiv and starring Helen Mirren, Liev Schreiber, Camille Cotton, Zed Josef, Lior Ashkenazi, Ohad Knoller, and Rami Heuberer. It is rated PG-13 for thematic material and pervasive smoking and the runtime is 1 hour, 40 minutes. It opens in theatres Aug. 25. Lynn’s Grade: C+.

Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.

Helen Mirren as Golda