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Caught Stealing is a nostalgic slice of ’90s New York City life that comes out swinging. Set in the Lower East Side of Manhattan, Darren Aronofsky’s new movie captures the nostalgic atmosphere of the time in this cat-and-mouse crime caper chase.
Austin Butler (Elvis; Eddington) plays Henry Thompson, a former baseball player turned bartender with a drinking habit, who insists on being called Hank. Tormented by a car accident that ended his promising sports career, the San Francisco Giants fan has been lifted straight from the pages of Charlie Huston’s novels that the movie is based on.
Hank gets caught up in a case of mistaken identity when his neighbor Russ, played by Matt Smith (The Crown; Doctor Who) – who looks like a punk-rocker that just stepped out of Camden in London (mohawk, studded leather jacket, piercings – the full uniform’s here) – asks him to look after his Maine Coon cat named Bud (who you might recognize from Pet Sematary), setting in motion a chaotic chase with a growing group of eclectic goons across underpasses, subways and basements through East Village.
You wouldn’t expect that cat-care could get you killed, but that’s exactly the catalyst that drives the next 107 minutes of the white-knuckle drama. The bone-splitting violence splattered throughout does not hold back, letting you hear every crunch and snap against the backdrop of a soundtrack composed by Rob Simonsen (The Whale; Deadpool & Wolverine).
What starts with Russian mafia, played by Yuri Kolokolnikov (Tenet; The White Lotus) and Nikita Kukushkin (Attraction), beating up Hank (Kukushkin’s mobster has a signature headbutt move) quickly snowballs as more players become involved to look for a mysterious key that they all believe Hank is hiding.
This hunt has got the attention of not just the Russian mobsters but a Puerto Rican gangster, played by Benito Martínez Ocasio aka Bad Bunny (Bullet Train; Happy Gilmore 2), and two extremely ruthless Orthodox Jewish brothers.
These last two might be the most threatening characters of the movie, but who also happen to have the most comedic lines. That’s largely down to menacing performances from Liev Schreiber (Spotlight; X-Men Origins: Wolverine) and Vincent D’Onofrio (Full Metal Jacket; Men in Black) that make for a humorous contrast when you find them slurping soup or refusing to drive during Shabbat.
There may not be any baseball in this film (apart from the brief opening scene) but funnily enough, it’s the more violent scenes where it really comes out as we watch Hank sprinting past pedestrians like he’s on a home run and swinging a baseball bat at his assailants as if he’s a deadly batter.
The sport offers a bridge between the violence and Hank’s soft nature. After all, Hank’s not a fighter – a fact we’re reminded of throughout by police detective Roman, played by Regina King (If Beale Street Could Talk; Ray), as well as by his relationships with people (and creatures) around him, from his mother to the homeless man on the street outside of his apartment that he helps out.
Zoë Kravitz’s (The Batman; Blink Twice) Yvonne, Hank’s girlfriend, is a welcome respite from all the violence, breaking up the gut punches and shootouts with a softer charm that shares the heart of the film with the weight of a drink driving accident from when Hank was younger.
The biggest highlight of the movie is the nostalgic set created by production designer Mark Friedberg (Joker; Noah) that immerses the characters in the gritty streets of East Village in 1998 during its transformation into the trendy art scene it is today. This is complemented by a soundtrack that includes ’90s hits such as Bitch by Meredith Brooks and Wandering Star by Portishead.
However, unlike the secrets of Bud’s litter tray, Caught Stealing isn’t too mysterious, relying on action movie ideas you’ve seen many times before. From the reluctant hero to the classic revenge storyline, it goes exactly where your brain naturally expect it to go based on the familiar elements – despite it coming from an interesting an unpredictable filmmaker in Darren Aronofsky.
It also lacks the intensity that his movies are known for, and can feel disjointed at times as it transitions from scene to scene, sometimes brushing over key moments. For instance, a lingering shot of a chameleon seems like it could be a reference to Hank’s resourcefulness, but this idea isn’t hinted at again, making it feel like a stray musing rather than an interesting theme.
Caught Stealing is not a deep psychological character study like Aronofsky’s The Whale or Black Swan, it’s an action-packed adventure centered around a self-destructive protagonist that’s trying to turn the corner.
Indeed, the sunny grasses of California where Hank is originally from are in real contrast to the grimy streets of the Lower East Side, where he now finds himself, is not the subtle backstory that we’re used to seeing from the filmmaker. They say stealing third base is a high risk, low reward play in baseball; unfortunately, I think that phrase captures the end result of Aronofsky’s push into a new genre.
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