CAUGHT STEALING – Review

And now I believe we’re officially in the Fall movie season, as the newest project from one of the most acclaimed “indie” filmmakers of the last twenty-five years or so releases his newest work into theatres, not just in the “art house” cinemas, but in multiplexes everywhere (and maybe a few drive-ins). That’s because it’s a much more general audience “accessible” than many of his previous projects. For one thing, it boasts a stellar cast headed by a “rising star”. And it’s in the “area” of one of the most popular genres, one that’s usually abundant in the summertime, the “crime thriller”, mixed with a few quirky comedy touches. It’s based on a popular novel, actually part of a “series” whose “double meaning” title becomes apparent while watching CAUGHT STEALING.

After a bright and sunny prologue at the final moments of a big high school baseball game, we’re sent to the grimy Lower East Side streets of NYC circa 1998. Twenty-something Hank Thompson (Austin Butler) has a pretty great life “slingin’ suds” at a rowdy “dive bar”. The best part of his gig is “last call” when his gorgeous EMT girlfriend Yvonne (Zo Kravits) waits for him to lock up. From there, the duo heads to his grungy walk-up apartment. In the hallway, they run into Hank’s punk-rocker (mohawk and spiked leather jacket, natch’) Brit neighbor, Russ (Matt Smith). He’s gotta’ fly home to see his dying Dad, so he asks Hank to take care of his cat, Bud. No prob. After some “sexytime”, Yvonne leaves for work in the morning as Hank nurses one of many nasty hangovers. Seems he’s trying to numb the pain of a painful memory. A call to his mother in Patterson, CA eases his head as they bond over a love of the San Francisco Giants baseball team. Later, he accosts two tough-looking Russians trying to break into Russ’s place. The thugs think that Russ gave Hank something they want. He tells them that he has nothing aside from Bud the cat, which earns Hank a severe beating from the two. Waking up in a hospital bed, he tells Yvonne that he can’t wait to be discharged. Back at his place, Hank is interviewed by Narcotics Detective Roman (Regina King), who informs him that Russ is into some shady business with the Russian mob, and he’s also involved with two “scary monsters”, the vicious Hasidic Drucker brothers (Liev Schreiber and Vincent D’Onofrio). After they leave, Hank uncovers a key that Russ left. He heads back to the bar to hide it, but begins a “bender” that leaves him unable to recall what he did with it. This doesn’t sit well with the Russians, who return with their equally violent boss, a Puerto Rican club owner named Colorado (Benito A Martinez Ocasio, AKA pop music superstar “Bad Bunny”). Can Hank escape them as he tries to cut through the drunken fog of the previous night? And if he does lose them, what will happen if the Drucker brothers catch up to him? And when will that darn Russ return?

That rising star I mentioned earlier would be the very charismatic Mr. Butler, who is steadily building an interesting movie resume after his breakthrough as Elvis. He is the reluctant hero with roots in classic noir cinema. Hank is a fairly good guy who is plunged into the dark netherworld of 90s drug gangs. But he’s not without his own darkness. Butler shows Hank’s inner torment as he wakes up from memories of a not-so-long-ago time when his poor judgment took away everything from him. But there’s little time for pity, or for boozy amnesia, as the walls close in. Through his expressive eyes, Butler shows us how Hank must drink in his new situations while formulating a plan at near light speed. He’s also terrific in the lighter moments, especially in the crazy, flirty chemistry-fueled scenes with the bubbly Kravitz as his sexy voice of reason, Yvonne. She truly cares about Hank, which exacerbates her frustration with his lifestyle choices, revved up after that hospital stay was cut short. Another calming influence is King, whose tough but still tender cop may be just the guide to get Hank past this nightmare alive. Smith brings some angry, funny energy as the Cockney rocker who fights to keep his 80s style while adoring his kitty. Schreiber and D’Onofrio are very compelling as the brothers whose religious adherence and attire juxtapose with their murderous intent and ruthlessness. They seem reasonable at times, until they see an opportunity to strike with deadly force. At least they’re sweet with their Bubbe, played by the always endearing Carol Kane as the stern and nurturing matriarch, though there’s a touch of menace in the advice she offers to Hank.

The filmmaker of this intricately layered bit of “pulp fiction” is the man behind many “offbeat” cinematic “trips”, Darren Aronofsky. Here he’s working with Charlie Huston’s screenplay adaptation of his novel of the same name. For the most part, Mr. A keeps us firmly on “ground level” with few “flights of fancy” or flashy flourishes (he makes good use of slo-mo and drones). He keeps us right with Hank as we can almost smell his sweaty panic as he races through a very dirty and dangerous NYC (really wonderful location work). And as I mentioned, Darren puts a unique spin on several tropes of the classic noir thrillers of the 40s and 50s. With a flawed hero struggling to keep “afloat” while straining to recall a boozy night, the story riffs on films like D.O.A., DETOUR, and AFTER HOURS (which makes the casting of its star Griffin Dunne as Hank’s biker/hippie boss a great “nod”). I should mention that the folks behind the marketing are doing the film a disservice by selling it as a wild comic “caper” romp, since Mr. A doesn’t shy away from the brutality and “ick” factor around alcohol abuse (yes, Hank rarely makes it to the “porcelain throne”). Yes, there are a few sluggish sequences prior to the big action, with twists, finale, but it delivers all the thrills, though not as deftly as the recent RELAY (more stunts and explosives with this new one). Aronofsky appears to be working very well out of his “arty” comfort zone with the gritty thriller CAUGHT STEALING.

3 Out of 4

CAUGHT STEALING is now playing in theatres everywhere