Josh O’Connor excels as a half-smart crook in the gently mocking ‘The Mastermind’

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Kelly Reichardt is one of indie cinema’s greatest gifts. Her films focus on compelling characters – pioneers, artists, and those simply drifting through life – and draw you in with a quiet, gripping intensity, much like the feeling of waiting in an emergency room.

You don’t usually think of a heist movie as a way to explore people and society, but Reichardt’s new film, “The Mastermind,” does just that. Though it starts with an art theft planned by a seemingly ordinary man from the suburbs, the movie is classic Reichardt: truthful, moving, humorous, and thought-provoking. It’s less about the robbery itself and more about what happens afterward, offering a compelling look at characters grappling with a surprising sense of detachment, set against the backdrop of a turbulent 1970.

James Mooney, a quiet and seemingly ordinary unemployed carpenter played by O’Connor, doesn’t seem like a criminal, even though the energetic jazz score by Ray Mazurek hints at something more. He spends time observing his local art museum, sometimes with his wife, Teri (Alana Haim), and their two sons. Otherwise, James is a somewhat lost husband and father, relying on the financial support of his parents, a respected judge (Bill Camp) and his socialite mother (Hope Davis), and generally failing to live up to their expectations.

However, judging by the clumsy robbery itself – those ridiculous pantyhose masks haven’t been seen in ages! – stealing isn’t this privileged character’s talent. When he’s hiding the paintings in a barn and the ladder falls out from under him, it’s a funny and fitting moment that symbolizes his overall incompetence.

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Reichardt expertly reveals the shallow irresponsibility of a privileged man, and Paul Dano’s performance is captivating in portraying his self-absorbed cluelessness through subtle expressions, posture, and movement. As the film follows his escape, the vibrant autumn colors of the cinematography fade to grays and darker scenes. He doesn’t come across as a rebellious fugitive, but rather as a disconnected loser leaving chaos in his wake – a feeling powerfully conveyed by Gaby Hoffmann, who plays the wife of a friend he visits. Even the film’s jazzy soundtrack reflects his descent, shifting from a smooth groove to fragmented drum solos.

The film subtly emphasizes the era with details like Nixon posters, anti-war protests, and Vietnam War footage. These elements highlight how pointless the main character’s rebellion is. While meaningful action was happening around him, he chooses a selfish and ineffective path, raising the question: why choose to cause trouble in a way that doesn’t actually matter?

This captivating film by Reichardt explores themes of luck and destiny, and makes you wonder what a modern version of her troubled main character would do. Would he still resort to stealing to feel better, or would the internet enable even more harmful behavior? The title, ‘The Mastermind,’ might be ironic given the events, but it also suggests a darker potential for this type of flawed character.

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2025-10-17 01:01