Dir: Darren Aronofsky
Cast: Austin Butler, Regina King, Zoe Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martinez Ocasio, Griffin Dunne, Carol Kane
Austin Butler electrifies every scene with majestic charm in this surprisingly fun crime caper from Darren Aronofsky, though the director’s signature grit sometimes clouds the film’s light-hearted tone
Nearly twenty years ago, when my passion for film first took hold, Darren Aronofsky quickly became one of the directors whose work I became instantly familiar with. His breakout, the incredibly stressful 2000 psychological drama “Requiem for a Dream”, introduced a signature motif that would echo through his films for years to come. Adapted from Hubert Selby Jr.‘s novel, “Requiem for a Dream” plunges into the lives of four central characters, each spiralling into delusion and despair as addiction takes its toll on their bodies and minds.
Aronofsky has made obsessive characters his trademark, from the feverish mathematician in Pi (1998) to the battered souls and frail bodies of “The Wrestler” (2008), “Black Swan” (2010), and “The Whale” (2022). Each film thrusts desperate protagonists into a downward spiral, driven by their own compulsions and neuroses. Despite the weighty themes, Aronofsky’s razor-sharp editing and kinetic direction inject his films with a pulse-pounding energy, immersing viewers in anxiety-laced sequences that pull us deep into his characters’ unravelling minds.
Aronofsky’s unflinching portrayals of emotional turmoil have produced juicy roles for his stars over the years, with Ellen Burstyn, Mickey Rourke, Natalie Portman, and Brendan Fraser having all earned Academy Award nominations under his direction, with Portman and Fraser ultimately claiming Oscar gold for their unforgettable performances in “Black Swan” and “The Whale”.
Given Aronofsky’s reputation for gritty, psychological storytelling, I was genuinely taken aback to hear that his latest project would be a comedic crime caper, adapted from Charlie Huston‘s novel “Caught Stealing”, the first in the Henry Thompson series. Though I have yet to read Huston’s work, the film’s marketing paints it as a breezy, sharp-witted romp through the criminal underworld—a striking departure from Aronofsky’s usual fare, save for its nostalgic New York backdrop.
Set against the gritty backdrop of New York’s Lower East Side in 1998, “Caught Stealing” plunges into the chaotic life of Henry “Hank” Thompson (Austin Butler), a washed-up baseball hopeful from California haunted by the ghost of a fatal, drunken crash that killed his friend and left him with a career-ending injury. When his wild British punk neighbour Russ (Matt Smith) returns to London to tend to his ailing father, Hank is left to care for his cat, Bud. Soon, a pair of ruthless Russian mobsters come knocking for Russ, leaving Hank battered and desperate for answers in the process. Turning to narcotics detective Eloise Roman (Regina King), Hank discovers that Russ is a notorious drug dealer entangled with the deadly Hasidic brothers Lipa (Liev Schreiber) and Shmully (Vincent D’Onofrio).
With danger closing in on both himself, his paramedic girlfriend Yvonne (Zoe Kravitz), and Bud, Hank desperately tries to stay one step ahead of his pursuers, all while unravelling the mystery behind a key hidden in Bud’s litter box—a key that everyone seems willing to kill for.
From the moment the trailer rolled, it was clear: “Caught Stealing” is a rollicking, retro crime caper that seems miles outside Aronofsky’s comfort zone. The film is drenched in the familiar trappings of his work—shadowy bars, grimy apartments, and a timeworn cityscape—but this time, the brisk pace, playful spirit, and razor-sharp wit mark a bold new direction for the filmmaker. Huston, adapting his own novel, crafts a tone and narrative that evokes the chaotic, wrong-place-wrong-time energy of Paul McGuigan‘s 2006 thriller “Lucky Number Slevin”. Both films share a hapless protagonist swept into a whirlwind of criminal misadventures, feuding gangs—including a memorable Hasidic crew—and all the action unfolds in the gritty heart of Manhattan’s Lower East Side.
Aronofsky’s signature style is unmistakable, setting this film visually apart from McGuigan’s slicker escapade. Yet, his familiar themes begin to seep in, sometimes dampening the film’s lively, mischievous spirit. Addiction once bleeds into the narrative, with Butler’s Hank drowning his guilt following the fatal car crash that ruined his life and baseball career. Hank continues to drink, ignoring heartfelt pleas from the endlessly patient Yvonne, even after losing a kidney after being beaten up for the first of many times throughout the movie’s duration. These heavy threads of guilt, regret, and addiction feel oddly out of sync with the film’s otherwise jaunty, comedic rhythm, at times diluting the emotional stakes and tension. A pivotal, potentially gut-wrenching scene involving a character’s surprising demise passes with surprising swiftness, the characters and story barely pausing to absorb its impact beyond the initial shock factor.
The film hits its stride when Aronofsky unleashes Huston’s wild, twist-laden tale of crooked cops and warring criminal factions, delivering a ride that is both exhilarating and irresistibly fun. This is easily Aronofsky’s most accessible film to date; while it may not leave you pondering deep questions long after the credits roll, its breezy pace and infectious energy are a welcome change from the director’s typically sombre fare.
What truly ignites “Caught Stealing” is Butler’s electrifying turn as Hank, an effortlessly charming yet vulnerable man who continues to be weighed down by the baggage of a single, life-altering mistake in his youth. From the opening moments, Hank is a magnet for misfortune, his only anchor the unwavering Yvonne, who stands by him through every stumble and setback. Butler’s effortless blend of charm and raw vulnerability makes Hank not just sympathetic, but magnetic, grounding his relationship with Yvonne in a believable, deeply human connection.
The ensemble cast, comprising familiar faces and screen legends, are all having a blast portraying a cast of colourful and often violent characters. Industry icons Griffin Dunne and Carol Kane make brief but memorable appearances, with Dunne’s presence nodding to his iconic turn in Martin Scorsese‘s dark comedy “After Hours”, a clear influence here. And stealing more than a few scenes is Tonic the cat as Bud, who, like so many lately, is instantly charmed by Butler.
The Verdict:
While Aronofsky’s signature gritty themes create a muddled tonal ride, “Caught Stealing” is a thrilling, high-octane crime caper, packed with standout performances—none more magnetic than Austin Butler, who delivers what might be his most electrifying work to date.
Caught Stealing is now showing in UK Cinemas
Dan Loves Film 
Good to know! I’ll go see it. “gritty backdrop of New York’s Lower East Side in 1998” is a definite plus for this GenXer 😊
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Hadn’t heard about this before, but sounds very worth looking out for! Thank you 🙂
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