Caught Stealing

I admire the diversity of Darren Aronofsky's filmography, which includes sci-fi, horror, a Biblical epic (arguably two), and relentless studies of men who have failed their children awesomely.  His latest, 2025's CAUGHT STEALING, is his first action crime drama, with liberal doses of comedy.  I wonder if he was deliberately paying homage to all those films in the 1990s which ripped off the works of Quentin Tarantino.  Not so much QT's films themselves.  He does succeed in this regard, and even makes it his own.  It is the most enjoyable of Aronofsky's films.  Now there's a sentence I never expected to type. 

1998, NYC. Hank (Austin Butler) is another Aronofsky screw-up: alcoholic, apparent momma's boy, barely supporting himself as a bartender on the Lower East Side. He also loves baseball.  Once he was good enough to be an MLB contender, his hopes dashed when his drunk driving killed his friend and ruined his knee.  His punk rocker neighbor Russ (Matt Smith) asks him to watch after his beloved cat Bud as he is headed home to London to see his dying father. 

Things get much worse when two Russian mobsters come looking for Russ.  They will end up rupturing Hank's kidney in a fracas.  Hank will learn from detective Elise Roman (Regina King) that his neighbor is a drug dealer associated with Shmully (Vincent D'Onofrio) and Lipa (Liev Schrieber) Drucker,  highly dangerous Hassidic Brothers in crime.  

One day Hank notices an unusually large, perfectly formed turd in Bud's litterbox.  A toy, it turns out, with a key inside.  We will find that everybody covets that key.

CAUGHT STEALING will become a rollicking, high energy ride.  Charlie Huston's screenplay is filled with surprises. Also some contrivances that are significant but not deal breaking.  What really makes the film work are some terrific performances.  Butler is becoming a star.  So natural.  He carries the film ably, surrounded by plenty of veterans, which also include Griffin Dunne and Carol Kane.  And how inspired is that Brothers Drucker casting? Both men are entirely believable, all the more frightening with their ersatz reassurances.  Zoe Kravitz appealingly portrays Hank's girlfriend, but is seen all too briefly.

And Bud? One of the best kitty thespians out there.  He gives the film, often beset with brutality and darkness, a heart.  Honestly, I was more concerned with what happened to him than any of his human co-stars. 

Aronofsky's spirited direction is also noteworthy. Nimble camera work by Matthew Libatique.  Evocative recreation of '90s NYC.  For once, Darren seems like he's having fun directing a movie.  After the unspeakable intensities of REQUIEM FOR A DREAM, mother!, and others, it is a balm for artist and viewer alike. 

P.S. - The "momma's boy" storyline, for me, was never adequately explained or developed, but does lead to a smile inducing cameo at the end of the movie.