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Movie Review

Crime thriller Caught Stealing is a pleasant mainstream surprise

Alex Bentley
Aug 28, 2025 | 1:03 pm
Austin Butler in Caught Stealing

Austin Butler in Caught Stealing.

Photo by Niko Tavernise

Since his career as a feature film director started in 1998, Darren Aronofsky has been known for making intense dramas with stories that are often intentionally hard to understand, like The Whale and mother!. To put it plainly, he’s never been a filmmaker who’s been beholden to genres, so the idea of him making a straightforward crime film like the new Caught Stealing is baffling for those who have followed his career.

The story centers on Hank Thompson (Austin Butler), who once had big dreams of being a professional baseball player, but now tends bar at a seedy New York City joint. Hank, along with his girlfriend Yvonne (Zoë Kravitz), is unwittingly dragged into a criminal enterprise when his next door neighbor, Russ (Matt Smith), asks Hank to watch his cat when he goes out of town.

Multiple goons soon start showing up at Russ’ door, looking for money that Russ has taken from them. Despite not knowing anything about that, Hank gets beaten up, threatened, and pursued by groups led by Colorado (Bad Bunny) and Hasidic Jews Lipa (Liev Schreiber) and Shmully (Vincent D’Onofrio), as well as Detective Roman (Regina King).

Written by Charlie Huston (adapting his own 2004 book of the same name), the film is inarguably the most entertaining one of Aronofsky’s career. Although there are multiple soul-crushing events for Hank in the film, Aronofsky seems to rein in his more depressing tendencies in favor of a fast-paced crime thriller. There are plenty of moments where he could have leaned into the darker parts of the story, but instead he lets the comedy of Huston’s script shine through, keeping things relatively light.

The characters are what make the movie work the most. Hank’s backstory lends extra meaning to his current dilemma, and also underscores his relationships with Yvonne and his unseen mother, whom he calls every day. Every one of the criminals - from Russ to two Russian thugs to the Orthodox Jews - stands out in a way that serves the story and enhances the entertainment factor. Even small roles like Hank’s boss Paul (Griffin Dunne) make an impact thanks to the way the film is structured.

It’s also nice to see Butler let loose after a string of award-bait roles in films like Elvis and The Bikeriders. Hank fights through a significant amount of trauma, allowing Butler to show off his dramatic acting skills again, but he also gets to indulge in a bit of action acting, which he handles with aplomb. Butler has been impressive before, but he makes Hank into a magnetic character throughout here.

The other actors are a little bit of a mixed bag. Kravitz is good, but she doesn’t get enough screentime for her character to feel fully realized. Schreiber, D’Onofrio, and Bad Bunny are a hoot in their respective roles, each bringing a menace that’s tinged with likability. King tries to employ a New York accent, something that distracts from what her character is saying.

Nothing in Aronofsky’s previous filmography suggested he would be interested in a movie like Caught Stealing, much less be so successful actually making it. But movie fans are the winners for his mid-career change of heart, getting a highly enjoyable crime film that delivers on both the story and acting front.

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Caught Stealing opens in theaters on August 29.

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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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