Burned-out ex-baseball player Hank Thompson unexpectedly finds himself embroiled in a dangerous struggle for survival amidst the criminal underbelly of 1990s New York City, forced to navigate a treacherous underworld he never imagined.
SPOILERS AHEAD
Darren Aronofsky’s films have never really resonated with me. I’ve often found his approach abrasive—his movies are packed with jarring edits, chaotic sequences, and intense close-ups that overwhelm the senses, which isn’t what I usually enjoy. When I was asked to review “Caught Stealing,” I tried to approach it with a clear head. I deliberately avoided any marketing, interviews, or plot details, hoping to see the film with fresh eyes. That ended up being the right move: I honestly think “Caught Stealing” is among Aronofsky’s finest efforts. While his usual stylistic choices are still present, this might be his most straightforward story yet.
Right from the beginning, I was reminded of “Mad Dog and Glory,” John McNaughton’s 1992 dark comedy. That film mixed bursts of violence with strange, character-driven humor, creating a purposely disorienting shift in tone. One minute you’re laughing, the next you’re shocked by something brutal. Aronofsky brings this same unpredictable energy to “Caught Stealing,” and in his hands, it feels organic.
The movie takes place in New York City in 1998. We’re introduced to Henry “Hank” Thompson (Austin Butler), who works behind a bar and lives in a small apartment. His girlfriend, Yvonne (Zoë Kravitz), is an EMT, and Hank maintains close contact with his mother. Things seem steady enough until Russ (Matt Smith), his mohawk-sporting, Brit-punk neighbor, abruptly asks Hank to watch his cat while he heads to London. Russ disappears before Hank can object, and chaos quickly follows. Two Russian mobsters show up looking for Russ, and Hank ends up hospitalized after a beating. When he gets out, he’s hunted by Lipa and Shmully (Liev Schreiber and Vincent D’Onofrio), Hasidic brothers who are also dangerous criminals. Apparently, Russ stashed a key to a storage unit worth $4 million, and now everyone assumes Hank knows where it is. Even Detective Roman (Regina King) gets involved, initially seeming helpful but ultimately making things even messier. When Yvonne is murdered, Hank switches gears—he stops fleeing and chooses to confront his enemies.
Hank’s attempts to escape danger mirror his struggle with his past. Through a flashback, we see that he once had a shot at a major league baseball career, but a car crash ended both his dreams and his best friend’s life. The guilt from that night lingers, especially since Hank’s first thought was about his own injury, not his friend.
Hank’s plans are thrown off when Russ unexpectedly returns. He leads Hank to the storage unit, only to betray him—Russ plans to kill Hank and pin everything on him, making off with the cash. But Hank, anticipating this move, has already put his own plan in motion to outsmart Russ, the Russians, the Hasidic brothers, and the cops.
The film expertly weaves subtle, character-driven humor with sudden, shocking violence. The comedy comes from personality quirks and delivery rather than obvious jokes, and the constant shifts in mood keep viewers on edge. Aronofsky utilizes this tension to maintain suspense, ensuring the audience never becomes too comfortable.
The performances are impressive across the board. Butler gives Hank a mix of fragility and grit, while Schreiber and D’Onofrio move effortlessly between affable neighborliness and chilling aggression. Their portrayal of seemingly normal guys who are actually ruthless criminals adds a strange, darkly funny layer to the story.
Griffin Dunne stands out as Hank’s boss, Paul. His performance channels the chaotic energy of his earlier roles, and his scenes facing down Russian gangsters—high on cocaine and wielding a shotgun—are truly memorable. There are clear nods to Tarantino throughout: sharp dialogue, graphic violence, and subjective camera work, all of which contribute to the film’s intrigue. Aronofsky’s willingness to borrow from other directors results in some standout moments.
Although I’ve never been a real Aronofsky fan, “Caught Stealing” completely won me over. I’m actually excited to watch it again.
In Theaters Friday, August 29th
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