Caught Stealing (2025)

​“Caught Stealing” stars Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Griffin Dunne, Benito Antonio Martínez Ocasio, and Carol Kane.  Released on August 29, 2025, the film has a former baseball player getting immersed in the criminal underworld.

The film was directed by Darren Aronofsky, who also directed films such as “Pi”, “The Wrestler”, “Black Swan”, and “The Whale”.  It is based on the book by Charlie Huston, who wrote the film’s screenplay.  On certain occasions, even the simplest of favors can lead to unforeseen complications.  When entrusted with the care of a neighbor’s house or pet, one typically anticipates tasks like feeding a beloved animal or ensuring the basement remains dry, not being pursued by criminals.  Unfortunately, one individual found himself dealing with the latter scenario when asked to look after someone’s cat.  Perhaps they should reconsider their criminal activity before requesting a neighborly favor?  This latest crime thriller features Darren Aronofsky adapting Charlie Huston’s book for the screen after helping Brendan Fraser win an Oscar for his role in Aronofsky’s divisive, award-winning drama, “The Whale”.  I still haven’t watched that yet, by the way, but given its reception, I can understand why.  Does this film offer enough merits in its cast and concept to make its criminal underworld worth getting involved in, or should we decline this “simple” favor?  Let’s find out.

The story centers on Henry “Hank” Thompson (Butler), a young man once celebrated as a high-school baseball phenomenon who has recently retired due to a career-ending injury.  He now works as a bartender on the Lower East Side and shares an apartment with his paramedic girlfriend, Yvonne (Kravitz).  One day, his punk-rock neighbor, Russ (Smith), requests Hank to look after his pet cat while he’s away.  What begins as a simple favor quickly spirals into an unexpected nightmare when Russian mobsters and the fearsome Hasidic brothers target Hank due to his association with Russ.  As a result, Hank finds himself in a wild goose chase that has him evading the distinct criminals eager to claim Russ’s money.

I seldom watch anything from Darren Aronofsky nowadays, which might come as a surprise considering some of his highly regarded works.  However, it’s not without some of his polarizing films that often lead audiences to question his surreal ambition.  The last film I saw from Aronofsky was “Mother!” in 2017, and let me tell you.  It was one of those experiences that you have to see to believe once and never again.  While I appreciated the allegorical intentions he aimed to convey, and I’m happy that most people enjoyed it, I felt that the execution didn’t resonate with me.  I was also aware that he recently directed “The Whale”, but I still haven’t felt compelled to watch it yet.  It may be due to my experience with Aronofsky’s biblical allegories in “Mother!” that contributes to my reluctance.  Nevertheless, I was willing to check out “Caught Stealing” since it appeared to venture beyond the director’s usual style.  To my surprise, I was glad that I gave it a chance.

Darren Aronofsky has long been renowned for his distinctive approach to psychological realism, blending surreal, metaphorical elements with visually arresting and often unsettling imagery.  He distinguishes himself as a filmmaker with a keen eye for psychological and dramatic storytelling, appreciated by his followers for his bold narrative choices.  However, on some occasions, his ambition beyond conventional Hollywood standards can wind up biting more than he can chew.  Some of his films, like “Noah” and “Mother!”, have showcased that the director’s reliance on ambitious curveballs can lead to a perplexed audience striking out more than anticipated.  In a refreshing departure, “Caught Stealing” demonstrated Aronofsky changing up his pitching style by offering a more straightforward, adrenaline-pumping story about a man trapped in a dangerous dilemma.  The result is a surprisingly compelling and invigorating home run that serves as a rewarding change of pace for the director’s ambitious narrative intent.  Given my disapproval of “Mother”, this was a much-needed approach that helped me reevaluate my perspective on Aronofsky’s works.

When he’s not overwhelming audiences with dark, psychological depths, Aronofsky often impresses with his approach to cinematography and tone.  Collaborating with cinematographer Matthew Libatique, Aronofsky employed dynamic panning shots and a traditional framework to convey an energetic and sleek portrayal of late 1990s New York.  This visual style evoked plenty of nostalgic vibes through its rich color palettes and even a few “grainy film” shots that enhance the film’s authenticity.  This is another well-shot film that highlights Libatique’s cinematic craft regardless of a film’s overall quality, especially when paired with some of Hollywood’s top talents.  I would also credit Aronofsky for maintaining a brisk and engaging pace, balancing the amusing dark humor with plot intricacies and thrilling action sequences.  Clocking in at 107 minutes, the movie is a relentless and exhilarating roller coaster that puts me in the passenger’s seat and never takes its foot off the brakes until its conclusion.  The film’s violence was subtle yet hard-hitting, and the thrills were effectively balanced with its editing and Rob Simonsen’s electrifying score, complemented by original tracks from punk band Idles.  I didn’t find a single scene that felt pointless or even draggy.  I found myself locked in as soon as Butler was put in charge of the cat, leaving me relieved and entertained by the film’s overall experience.  While it diverges from Aronofsky’s signature vision in his previous works, “Caught Stealing” proved that simplicity, when executed with his signature craft, can also result in a home run worth celebrating.

Of course, a significant factor in the film’s entertainment value was its screenplay.  “Caught Stealing” is another occasion where the source material’s author comes on board to draft an adaptation.  In this case, Charlie Huston penned the script, utilizing his knowledge of the book to faithfully adapt it for the screen.  Even without prior knowledge of the novel, I found Huston’s screenplay remarkably effective in making its seemingly simple premise captivating.  While it incorporated familiar elements from the crime thriller genre, the script’s biggest strengths, which retained the plot’s excitement, were its twists and Hank’s personal journey.  On some occasions, it led me to think about where it would go from there, only to switch things up with a surprising reveal that raised the stakes in its narrative.  The twists not only made sense in context but also prevented the storyline from being too predictable, thereby maintaining the intrigue and enjoyment of its usual genre trappings.  The script was also solid in its examination of grief and responsibility, as seen in Hank’s struggle with a tragic past and his quest for redemption.  It may not reach the emotional heights of the intended themes.  However, the script’s ability to imbue charisma and soul into its seemingly unapproachable characters compensated for any minor shortcomings.

Austin Butler has constantly proven himself to be another young movie star in the making, building on his career-defining performance in “Elvis”.  He has been on my radar ever since that movie, even though he first gained attention as a TV heartthrob.  So far, I have been impressed with his talents, which extend beyond his handsome appearance.  Unsurprisingly, Butler managed to keep his streak going with his performance in “Caught Stealing”.  His entertaining portrayal of a generous yet slightly immature Hank further demonstrated Butler’s range as an actor through his charismatic and often humane aura.  While it didn’t surpass his authentic performance as Elvis Presley, I would say that his role as Hank had enough merits to come pretty close.  It highlighted that it takes more than good looks to make it big in the film industry.  Regina King was also decent in her role as Elise Roman, a detective collaborating with Hank in handling the situation.  I was also impressed to see Matt Smith in a role that’s more amusing than I expected.  His performance as Hank’s punk neighbor provided plenty of amusement to emphasize his unlikable personality, adding to the film’s comical flair amidst the criminal activity.  Liev Schreiber and Vincent D’Onofrio also provided amusing moments as the Drucker brothers, particularly during the film’s Shabbos dinner sequence.

Overall, “Caught Stealing” stole enough cinematic bases to score an immensely entertaining and sleek thrill ride worthy of showcasing the lead’s talents and Aronofsky’s vision.  Given my limited experience with Darren Aronofsky, I initially felt uncertain about how it would be translated based on his reflections on psychological realism.  However, I was pleasantly surprised to find that it not only met my expectations regarding its entertainment value but also exceeded some of them.  It’s unlikely to score any nominations, like some of the director’s previous acclaimed films, due to some of its hit-and-miss narrative elements.  However, it effectively showcases Aronofsky’s cinematic craft, extending beyond his signature approach to psychological realism, while also providing a gratifying experience set in a 90s-inspired criminal underworld.  Austin Butler shines in his charismatic performance, further solidifying his status as a movie star.  Additionally, Aronofsky’s direction impressively delivers entertainment through its pacing, dark humor, captivating cinematography, and thrills.  While I can’t definitively say whether this will motivate me to explore the director’s other works, I can confidently state that Aronofsky has regained my respect with this film…at least for now.     

B+