REVIEW: ‘Caught Stealing’ has more cinematic crimes than just theft

“Caught Stealing” involved the filmmaking contributions of several great talents, making it ultimately unfortunate that the movie ends up a disappointment.

Set in the late 1990s, the movie centers on Hank Thompson (Austin Butler). Once a promising Major League Baseball prospect, Hank’s life took a bad turn and he now works at a neighborhood bar to get by. Work follows him home, too, as he drinks regularly.

Hank’s home is also adjacent to a British punk rock neighbor named Russ (Matt Smith), who has left the apartment for a trip back to the U.K. Unfortunately, Russ was involved in illegal activity and criminal elements looking for the Brit come across Hank, which spirals into a dangerous situation for the bartender.

“Caught Stealing” contains a premise that, on its face, should work. Sadly, it has several things preventing that from happening. Perhaps, most notably, is the tone. At times, the film plays out like a dark crime drama mixed with a character study about a struggling alcoholic. In others, the film appears more as an exaggerated action comedy, with a character in over their head.

Films where a character is dragged into the dangerous world of crime and violence can make for effective drama, as seen in 2011’s “Drive,” 2013’s “Out of the Furnace” and 2022’s “Emily the Criminal.” All of which depict a protagonist having to contend with an unfamiliar dark underground that tests them.

That does happen in “Caught Stealing,” but there are also moments of random situational humor and exaggerated sequences that are more akin to an action comedy. While viewing the picture, it was easy to think about “Novocaine” from earlier this year, which also featured over the top combat played for both laughs and entertainment. It doesn’t fit in “Caught Stealing, though.”

These transitions are quite jarring, creating a rough rollout of the story and trouble connecting emotionally with what’s revealed. This is especially true with a major event that happens in the second act that is so entirely out of place that it’s off putting.

This isn’t an argument that the movie should have been void of levity. Including some moments of comedy or making light of some oddities in a given scenario isn’t entirely bad. The issue is the execution.

Not only are there too many sequences played for humor not long after scenes meant to be viscerally grim, but there’s also too many moments and lines that come across as overly quirky, as if the picture is trying to will itself into cult classic status.

Notably, the film was penned by Charlie Huston, who’s also the author of the book this film was based on. This leads one to think there may have been something lost in translation from print to film. Whatever the case, Huston’s writing leaves plenty to be decided. That’s true with the film’s atmosphere and narrative, as well as how the characters are portrayed.

None of the main figures presented are particularly likable, interesting or compelling. That’s perhaps, unfortunately, most true with the protagonist. It’s easy to have some sympathy for Hank because of his past trauma, which derailed his promising athletic career and led to his reliance on alcohol. However, the character has few qualities beyond that to be memorable.

Butler also feels rather miscast in the role. He just doesn’t fit the mold of an everyday, working man schlub. Butler himself isn’t necessarily bad in the role when it comes to delivering the emotions, but he also is never quite believable as the person the audience is meant to believe he is.

The rest of the characters don’t stand out much, either. In fact, most are a detriment. From the two Hasidic mob members played by Live Schreiber and Vincent D’Onofrio, to Regina King’s detective Elise, the people on screen are more like caricatures, rather than fully formed characters. That’s even more true with Hank’s neighbor, played by Matt Smith, who is insufferable.

Technically, the film benefits from director Darren Aronofsky’s skill. The picture is well-crafted, with a distinct look and a gritty, grimy aesthetic capturing the underbelly of the criminal elements. As with other works in his filmography, he also knows how to depict human drama, especially with bleak circumstances.

There are areas where a viewer can give credit to Aronofsky’s talent, as well as Huston’s attempt to show how trauma can hold people in a rut that’s hard to get out of. However, so much works against the movie, from the jarring tone, to none of the characters being particularly likable, plus the fact that one of the emotional cores of the movie is a dumb cat. Even under two hours, it feels too long. 2 out of 5.