In ‘Caught Stealing,’ Darren Aronofsky dodges expectations with a hectic, hungover NYC caper

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In simpler terms, the protagonist of Darren Aronofsky‘s gritty movie “Caught Steeling,” played by Hank Thompson (Austin Butler), made two significant blunders. Initially, he chose to rescue a cow, which led him to crash his car into a pole, effectively ending his promising baseball career. Later, after moving from California to Manhattan’s Lower East Side and working at a seedy bar, Hank agreed to look after a cat. However, before he could even open a can of cat food, two tough individuals arrived seeking the cat’s actual owner, a mohawked rocker named Russ (Matt Smith). Unfortunately, they mistook Hank for their target and brutally attacked him, causing him to lose a kidney.

Subsequently, things take a turn for the worse. The gritty and entertaining novel “Caught Stealing,” penned by Charlie Huston, is set in New York City in 1998, a time when the World Trade Center was still dominant and tech enthusiasts were generally struggling, obscure individuals with jobs that often went unexplained. Duane (George Abud), a rather unremarkable programmer living nearby, constantly reminds Hank and his regular companion Yvonne (Zoë Kravitz), a vivacious paramedic with a penchant for partying, about the necessity of him waking up to create websites. They often laugh at Duane’s expense, seeing him as hopelessly out of touch with what’s cool.

Due to the cat, Hank unwittingly finds himself entangled in a thrilling crime drama filled with tough characters. This includes Russian gangsters Pavel (Nikita Kukushkin) and Alekset (Yuri Kolokonikov), Hassidic hitmen Lipa (Liev Schreiber) and Shmully (Vincent D’Onofrio), a Puerto Rican nightclub owner Colorado (Benito Martinez Ocasio, famously known as Bad Bunny), and other ominous figures. Hank is uncertain about their motives and eager to free himself from this troublesome situation. He’s also being pursued by tenacious NYPD Detective Roman (Regina King), a seasoned officer of Alphabet City who doubts that Hank is merely caught up in these chaotic events due to mere bad luck.

Everything on screen appears covered in graffiti, liquor, or various substances. Watching “Caught Stealing” with Smell-O-Vision would likely be an agonizing experience. Directory Aronofsky seems to have a fondness for this vibrant, pre-millennial environment, despite the characters within the movie complaining about Rudy Giuliani’s efforts to clean up the city. Hank attributes the mayor’s new regulations when he needs to halt a group of college students from dancing in the bar. He might also dislike Smash Mouth. The film leans more towards the gritty, lively tunes composed by Rob Simonsen and features a soundtrack that heavily emphasizes the British post-punk band Idles.

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In a new twist, Elvis is no longer in our galaxy; instead, attention shifts to Austin Butler and director Denis Villeneuve as they delve into the process of making Feyd-Rautha Harkonnen, the ruthless antagonist from ‘Dune: Part Two,’ come alive.

In this revised version, Huston alters the characters to give off a more authentic, local atmosphere. The original cowboys are transformed into Schreiber and D’Onofrio, portraying devout Jewish brothers who unexpectedly stop their assassination mission to pay a visit to their mother (a charming Carole Kane) during Shabbos. It was quite challenging to recognize Schreiber due to his thick beard. The protagonist, Hank, frantically tries to evade them and other chasers, leading the camera up a narrow alleyway, through a lively Russian wedding, and leaping across the aquariums at an Asian grocery store. He manages to dodge one trap by slipping beneath a tub of live crabs.

This tour of New York, often referred to as a heartfelt tribute to the city, is more like a playful yet gritty limerick penned by Aronofsky. His preferred corners of the city are filled with dirt, tension, and humor that add an unusual charm. He even includes a cockroach in the opening credits. In a brief moment of relaxation, when Roman takes Hank to a late-night diner for her favorite black and white cookie, the director orders the server to throw the plate at her disdainfully – a rude action he considers as poetic as a sonnet.

Hank, the character from Butler’s story, is struggling to stay afloat in life. Once a popular high school figure, he’s now a man grappling with self-hatred and his declining charm. He’s also an alcoholic, often drinking beer for breakfast, which is troublesome given that he only has one kidney and Yvonne advises him to cut back. Unfortunately, Hank doesn’t listen, leading to frequent hangovers that impair his thinking. The narrative maintains a relaxed tone, but the editing by Justin Allison and Andrew Weisblum effectively captures Hank’s drinking sprees.

At 4 a.m., there’s palpable chemistry between Hank and Yvonne, but as the day progresses and they eventually wake up, their feelings seem to cool down. This is partly because she questions her ability to commit to someone who leads an unstable life. Regrettably, throughout the movie, he finds himself in situations where running is his only option, and when his building seems unsafe, he has no other choice but to seek refuge at a bar. Exiting one tavern and walking past Kim’s Video (which is now closed, RIP), you can almost hear Aronofsky begging for him to rent a movie and enjoy a peaceful evening in. However, other characters persistently probe Hank about whether he’s truly a murderer; the distinction becomes blurred. In reality, Hank never ponders his identity or potential future – all he recalls is his past as an athlete – which lies at the heart of his struggles.

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This summer promises a robust lineup, featuring blockbuster films reminiscent of Hollywood, intelligent independent productions, and a suitable portion of entertaining yet mindless movies – a must-have for every summer entertainment menu.

In flashback sequences, Butler radiates an aura of youthful potential. Riding around with his buddy Dale (played by D’Pharoah Woon-A-Tai), he casually boasts that he won’t be drafted any higher than the 15th round by Major League teams. Recurring nightmares about their car accident haunt Hank, each one startling us with a loud cracking sound, reminiscent of a bat. Every time the film transitions from Hank’s vibrant past to his painful present, it’s a jarring moment, especially when he runs and there’s a fear that he might burst a stitch.

As a devoted cinephile, I can assure you that even the resilient feline character, Bud (a captivating long-haired tortoiseshell named Tonic), will end up hobbling on just three paws, tugging at your heartstrings. Rest assured, Aronofsky tactfully restricts the disturbing footage, instead focusing on moments where Bud spends a significant amount of time peeking out from a gym bag. This cat’s unbelievable patience, shown in his refusal to receive any food or water, suggests that he must be part Maine Coon and part camel.

Over a decade and a half ago, as I delved into crafting “Black Swan,” Darren Aronofsky approached me with the idea of adapting “Caught Stealing.” As a film enthusiast, it’s intriguing to ponder why such an esteemed director known for ambitious, even pretentious Oscar-worthy material would be drawn to a tale that’s essentially a gripping yarn. It strikes me that perhaps he harbors a deep affection for the gritty and chaotic New York classics that catapulted countless great filmmakers in the ’60s and ’70s. Reflecting on this, I can’t help but recall that in 1998, a year Aronofsky likely chose as the story is set in 2000, he was around the same age as the character Hank and debuting his groundbreaking film “Pi,” which was also shot nearby.

Upon initial observation, his debut film and most recent work appear dramatically distinct despite being set in similar urban landscapes (and with Aronofsky maintaining a lasting partnership with his cinematographer Matthew Libatique, who lends these events a raw and textured quality). Yet throughout his career, Aronofsky has consistently explored the weight of talent as a theme. His films often revolve around characters teetering on the brink of wasting their potential, whether they are ballerinas, wrestlers, mathematicians, or baseball players. For Hank’s character, the greatest danger isn’t guns but the knowledge that he came close to achieving something remarkable in life only to fall short. Simultaneously, just a stone’s throw away, young Aronofsky achieved something remarkable – and then grappled with the expectation from audiences that he would continue to excel throughout his career.

In that scenario, “Caught Stealing” appears to function as Darren Aronofsky’s stress relief, focusing primarily on entertainment throughout. If this were his first film, it would undoubtedly receive acclaim up to the peak of the Empire State Building. Admittedly, it may seem somewhat less impactful compared to his other works, but that is more a reflection of our expectations rather than the film’s quality (and it’s clearly superior to “The Whale”). It’s plausible that Aronofsky might contemplate further adventures of Hank Thompson if audiences find them appealing, as Huston has penned two additional books in the series. Much like Hank, Aronofsky seems content not to dwell too much on future possibilities.

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2025-08-28 08:31