Darren Aronofsky’s latest film, Caught Stealing, a crime thriller based on Charlie Huston’s novel, premiered to a mix of anticipation and skepticism at CinemaCon in March 2024. The film features a star-studded cast, including Austin Butler, Zoë Kravitz, and Regina King, but ultimately falls short of expectations. With a runtime of 107 minutes, it struggles to deliver the wit and energy suggested by its trailer.
The narrative follows Hank Thompson, played by Butler, a former baseball prospect turned bartender living in New York City. After a devastating car accident derailed his athletic career, Hank seeks solace in a new life, albeit one filled with unresolved issues. He attempts to navigate a budding romance with Yvonne (Kravitz), a paramedic who senses the emotional turmoil he hides. Their relationship, however, is tested when Hank becomes entangled with Russian mobsters and a pair of Hasidic hitmen, portrayed by Vincent D’Onofrio and Liev Schreiber.
As the plot unfolds, Hank is caught in a web of crime involving his neighbor, Russ, who is played by Matt Smith. When Russ is away, Hank is tasked with cat-sitting his cat, Bud, only to find himself embroiled in a violent conflict. The film’s tension escalates as Hank must confront his past traumas to survive and protect those he cares about.
Despite the intriguing premise, Caught Stealing fails to capitalize on its potential. Critics note that Aronofsky’s direction lacks cohesion with Huston’s script, leading to a disjointed viewing experience. The film incorporates impressive cinematography by Matthew Libatique and showcases various vibrant locations in New York, yet the pacing feels uneven.
The film’s portrayal of the late 1990s captures a transformative period for the city, but the execution leaves much to be desired. At times, the narrative feels stretched, and supporting characters lack depth, leaving audiences uninvested in their fates. A particularly shocking moment in the film undermines its stakes, resulting in diminished emotional impact.
Though the performances are solid, they do not elevate the material sufficiently. Butler’s portrayal of Hank brings charisma to the role, while Kravitz adds warmth as Yvonne. Schreiber and D’Onofrio’s characters inject a degree of chaos, but their appearances are limited and do not contribute enough to the overall narrative.
The film’s conclusion features an animated closing credit sequence that contrasts sharply with the rest of the film. This vibrant, whimsical style showcases the creativity that is largely absent throughout the preceding scenes. Critics suggest that a greater infusion of this unique style could have transformed the film into a more memorable experience.
In summary, Caught Stealing is not a complete failure but rather a missed opportunity for Aronofsky, who seems to struggle outside his familiar thematic territory. While the film boasts a strong cast and beautiful visuals, it ultimately does not reach the heights one might expect from its promising premise. With a score of 6.0, it remains an average offering in Aronofsky’s filmography, raising questions about his ability to tackle the crime-comedy genre effectively.
