When thinking about movie stars, older actors who started their careers far before modern blockbusters always come to mind: Cate Blanchett, Leonardo DiCaprio, Viola Davis, etc. Most of them are no younger than 50, minus exceptions like Timothée Chalamet and Zendaya. Austin Butler, the star of “Caught Stealing,“ is a change to the narrative.
Never taking off his San Francisco Giants baseball cap, Hank (Butler) starts with a cool–mannered, mom-loving persona that slowly wavers into personal vulnerabilities. Since his breakout in “Elvis” (2022), Butler has been on a roll, stealing the show in “The Bikeriders” and “Dune: Part Two.” Charming, physical and funny, this is his next chapter — a star-solidifying performance. “Caught Stealing” hit theaters Aug. 29 and is backed by an all-star cast, crew and New York City locale that help Butler showcase his ability to lead a thrilling actioner audiences are sure to remember.
After depressing audiences for decades with his bleak style, director Darren Aronofsky makes his action-comedy debut. It is a funny yet tragic story that is not afraid to kill characters off and make them lose, still fitting in with the somber tone of his filmography. The action is exciting and painful; rather than fantastical, it feels grounded in reality. At one point, Hank quickly slides under a crate, and rather than the movie continuing, it cuts to him wincing in pain at the motion. Characters will do something impressive and actually be hurt afterward, unlike many blockbusters where regular people have superhero-like abilities.
“Caught Stealing” opens with Hank bartending; he is well-liked, enjoys the job and is infamous for being a Giants fan as they make their September 1998 playoff push. While he closes up, his semi-girlfriend Yvonne (Zoë Kravitz) swings by and asks to go home with him. They have a magnetic physical attraction, yet are still figuring out whether they want to take their relationship to the next level.
Kravitz is great in the role, though Yvonne is underdeveloped. There is rarely any mention of her life outside of the time she spends with Hank. His neighbor, Russ (Matt Smith), a mohawk-wearing punk-rock British guy who has to skip town for a few days, stops the two and tells Hank to watch his cat. Smith is nearly unrecognizable with one of the most iconic character designs in recent cinematic memory. Unfortunately, watching the cat is a much more loaded task than it seems and soon spirals out of control.
The deeper the story goes, the better. As the cat-sitting task spirals, mobsters and other corrupt figures get more involved, including the hysterical Colorado (Bad Bunny) and Hasidic brothers Lipa and Shmully (Liev Schreiber and Vincent D’Onofrio). Everyone is self-interested and trying to backstab one another; they are untrustworthy, no matter how amicable they may seem.
However, the best side character of all is, of course, the cat itself. It is a fierce feline to most, frequently being called a biter, although it loves Hank and Yvonne. Early in the movie, Hank has to stop drinking, and the cat cleverly knocks down some of his liquor to be disposed of. It has a fun personality, and the audience is constantly wishing for it to stay unharmed.
The New York City setting is well put together, feeling lived–in and diverse. Many chase scenes go through various crowded locations; there is never a moment when the city feels uncharacteristically deserted. No stereotypical places like the Statue of Liberty, The Washington Square Arch, or Empire State Building are visited, yet they do not need to be. The city is so much more than that. Much more time is given to boroughs like Queens and Brooklyn. The cinematography and sound are fantastic, making the city feel gritty while maintaining a unique charm. It stands out from other more recent New York films like “Highest 2 Lowest.”
This is simply a good movie. From car crashes to fist fights to gun shootouts, there is enough excitement to keep anyone interested. However, it also knows when to slow down and build audience empathy, sometimes to have dinner with a grandma (literally). Its twists and turns are executed just right to feel surprising, though not jarring. Interested viewers should see this in a theater with a crowd that will laugh and gasp at the various twists and turns; they will not regret it.
