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Crime, Thriller, Comedy 107 min R
2 Russians, 2 Jews, and a Puerto Rican walk into a bar...
Burned-out ex-baseball player Hank Thompson unexpectedly finds himself embroiled in a dangerous struggle for survival amidst the criminal underbelly of late 1990s New York City, forced to navigate a treacherous underworld he never imagined.
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Relentless, plot-driven and overwhelming.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
**Score: 8/10 — A Dark, Gritty, and Surprisingly Touching Neo-Noir** Darren Aronofsky's *Caught Stealing* is a welcome return to form a lean, mean, and unexpectedly funny crime thriller that proves the director hasn't lost his touch. Based on Charlie Huston's novel, it follows Hank Thompson (Austin Butler), a washed up former baseball prospect whose simple favour; watching his neighbour's cat, plunges him into a blood soaked war between Russian mobsters, Hasidic gangsters, and corrupt cops. What emerges is a film that **skillfully mixes tragedy and comedy**, never losing its balance even at its darkest. **The Tragidy/Comic Balance** The film's tonal tightrope walk is its greatest achievement. One moment you're wincing at brutal violence; the next, you're laughing at the absurdity of it all. Nowhere is this more evident than in the handling of Yvonne (Zoë Kravitz). Her character is warm, grounded, and deeply likeable, which makes her sudden, senseless execution all the more devastating. Yet the film's genius is that **when Yvonne is executed, and Hank has to get on with business**, the narrative doesn't wallow. It pushes forward, forcing both Hank and the audience to process grief w
Read the whole review on TMDBWhen “Russ” (Matt Smith) asks his bartending, hard-living, pal “Hank” (Austin Butler) to mind his cat whilst he returns to London to look after his sickening dad, he’s narked but agrees. Little does he realise that “Russ” has been involved with some ne’er-do-wells in the city and so fairly swiftly “Hank” is having to develop an whole new pain threshold as first the Russians, then the Hebrews lay into him. The cops are soon involved and his paramedic girlfriend “Yvonne” (Zoë Kravitz) has to find new ways of stitching a wound - and all for what? “Hank” hasn’t a clue who they are, what they want, or where what they want might actually be? It’s only when the spikey-haired British geezer makes a reappearance that things might start to make some sense - but I wouldn’t bet on it! Now despite the fact that Butler is almost always being beaten up - often clad only in his Calvins - he manages to exude loads of charisma into this daft crime caper. Certainly, it plays fast and loose with medical science and serendipity does intervene once or twice more often than you could realistically expect, but it’s a solid action-adventure feature that is bloody, violent but still darkly entertaining. The
Read the whole review on TMDBWhen filmmakers seek to stretch their creative juices by working on projects that aren’t typical of their normal output, they need to get their ducks in a row first if they hope to succeed in these new ventures. In tackling such productions, some have brilliantly broadened their ranges, while others have regrettably failed miserably. Rarely, however, do they fall somewhere in the middle, but such is the case with director Darren Aronofsky’s latest, a comedy/crime thriller that gets some things right and others not so much. Set in 1998, the picture follows the story of a once-promising baseball prospect, Hank Thompson (Austin Butler), whose chances of going pro were ruined by a severe knee injury, forcing him to settle for a routine job as a New York City bartender. It may not be everything he hoped for, but it pays the bills and provides him with a steady supply of his other passion, alcohol. However, his relatively mundane life takes a bizarre left turn one night when his shady, punked-out neighbor, Russ (Matt Smith), asks him to babysit his cat when a family emergency calls him home to London. It’s a favor that unwittingly draws Hank into the underbelly of his neighbor’s sordid,
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