Darren Aronofsky’s latest, Caught Stealing, lands Austin Butler in a starkly different role, sparking conversations among critics and fans alike. This gritty, 1998 New York City-set crime thriller attempts a delicate balance between dark comedy, action, and a raw exploration of guilt, with Butler stepping into the shoes of Hank Thompson, a former baseball phenom whose life took a devastating detour. The film challenges audience expectations, offering a unique blend of Aronofsky’s signature intensity and an unexpected, frantic energy. It’s an expert review of Caught Stealing and Austin Butler’s compelling, albeit sometimes debated, performance.
Austin Butler’s Challenging Transformation as Hank Thompson
Austin Butler has carved out a niche playing enigmatic, almost ethereal figures. From the magnetic Elvis Presley to the sociopathic Feyd-Rautha, his screen presence often thrives on a certain aloofness. However, in Caught Stealing, Butler’s role as Hank Thompson demands a different kind of performance. Hank is a down-on-his-luck bartender, a former high school baseball star haunted by a career-ending accident and a burgeoning alcohol addiction. The original review suggests Butler, despite his talent, struggles to convey the deep-seated weariness and bitterness of a man who has been wallowing in denial for over a decade. He projects a youthful charm that some find at odds with Hank’s self-destructive path.
Yet, other critics commend Butler’s committed work. They see his portrayal as evidence of his growing versatility and leading man potential. He conveys intensity, frustration, and a “quirky innocence” that makes Hank easy to root for despite his flaws. This “kid-like” quality, particularly in his eyes, is reportedly leaned into by Aronofsky. Butler’s nuanced acting allows him to endure significant physical and emotional torment, while also finding ways to “roll with the punches.” He embodies Hank as an affable “dirtbag with a heart of gold,” skillfully revealing a deep-seated guilt that emerges under pressure. This performance positions Butler not just as a star, but as an actor capable of complex, if sometimes controversial, character studies.
Darren Aronofsky’s Genre Pivot: Chaos, Cruelty, and Comedy
Darren Aronofsky is renowned for his psychologically intense, often disturbing films like Requiem for a Dream and Black Swan. Caught Stealing marks a notable, even surprising, departure, embracing a “dark loony New York comedy” vibe. This shift demonstrates Aronofsky’s unexpected versatility. While the film retains elements of his signature imaginative style, it ventures into a genre heavily reliant on a frantic, nightmarish chase narrative. This has led to critical debate: is it a lighthearted crime thriller in the vein of Guy Ritchie, or a more serious, anxiety-inducing commentary on horrific realities?
The film’s tone is often ambiguous, blending over-the-top comedy with morbid beatings. This “cruel streak” drags Hank through harrowing encounters, sometimes to its detriment. Some reviewers feel the film becomes “a bit too serious for its own good,” with pervasive violence making it less like genre fun and more akin to the heavy emotional weight of Aronofsky’s earlier works. Others suggest Aronofsky, in “mischief-maker mode,” prioritizes pure entertainment, achieving an intriguing tonal balance where absurd, violent events provoke laughter rather than gasps. This “Aronofsky-lite” approach, however, still showcases his masterful tonal control. He handles Hank’s inherent pain with tenderness, allowing the “perpetually punished Aronofsky protagonist” trope to exist without engulfing the film in darkness.
The Gritty Canvas of 1998 New York City
One of Caught Stealing‘s undisputed strengths is its meticulously crafted 1998 Lower East Side setting. Aronofsky, a born-and-bred Brooklynite, takes his New York bona fides seriously. Cinematographer Matthew Libatique captures the “grimy exquisiteness” of downtown Manhattan’s comparative squalor, making it a vibrant, palpable character in itself. The film serves as a “love letter to ‘90s New York,” meticulously resurrecting an “ecosystem gone extinct.” You can almost feel its grit.
The narrative features a wide, ethnically diverse cross-section of “unsavoury figures” that Hank encounters, forming a “vibrant mosaic” of New York’s population. This includes Russian gangsters, a Puerto Rican enforcer, and Hasidic mobsters. While the film could delve deeper into themes like gentrification, it often chooses to “show, not tell,” depicting the city’s changes through character interactions. The period setting is informed by a wry acknowledgment of the era, from Giuliani-era trappings to prime use of Meredith Brooks’s “Bitch.” This immersive sense of place is a consistent highlight for critics.
Hank Thompson’s Unwilling Dive into the Underworld
Hank Thompson’s life is violently upended by a seemingly simple favor. As a former high school baseball prodigy whose career was cut short by a car crash, Hank lives a mundane existence, bartending and drowning his sorrows. His tentative connection with EMT girlfriend Yvonne (Zoë Kravitz) offers a flicker of hope. However, when he agrees to cat-sit for his swaggering British punk neighbor, Russ (Matt Smith), Hank is drawn into a dangerous underworld.
This seemingly innocuous act escalates quickly. Tough guys come looking for Russ and brutally beat Hank when he can’t reveal his neighbor’s whereabouts. This violent encounter results in Hank losing a kidney, thrusting him unwillingly into a perilous chase. He becomes a “Hitchcockian wrong man,” pursued through the city’s boroughs by brutal Russian gangsters, a pistol-wielding nightclub owner (Bad Bunny), and particularly terrifying Orthodox Jewish brothers (Liev Schreiber and Vincent D’Onofrio). Aronofsky’s fascination with characters pushed to their breaking point is evident, with every blow registering with “bruising, bloody force” on Hank, who is still recovering from surgery.
A Stacked Cast and Unexpected Villainy
Caught Stealing boasts a formidable ensemble cast, with many actors singled out for their dedicated performances. Matt Smith delivers a distinctive portrayal as the mohawked British punk, Russ, whose sudden disappearance sets the chaotic plot in motion. Zoë Kravitz provides a much-needed grounding force as Yvonne, Hank’s girlfriend, whose skepticism and concern for him offer a touch of humanity amidst the mayhem. Their chemistry is often cited as the “heart of the film.”
Regina King shines as Roman, an “ice-cold detective” who warns Hank of the escalating dangers. Her ability to switch from comforting to steely adds depth to the narrative. The Russian goons (Yuri Kolokolnikov and Nikita Kukushkin) are genuinely scary, while Benito Martínez Ocasio (Bad Bunny) continues to impress with his growing screen presence as a convincing mobster. However, it’s Liev Schreiber and Vincent D’Onofrio as the Hasidic Jewish enforcers who steal the show. They are incredibly funny, insisting on a Shabbat stop at their bubbe’s house, yet disarmingly calm and violently capable. Their scenes, including Carol Kane serving matzo-ball soup to a yarmulke-wearing Butler, provide unexpected moments of dark humor amidst the film’s relentless pace.
Narrative Pacing and Thematic Exploration
Charlie Huston’s “punchy” screenplay, adapted from his 2004 novel, keeps audiences perpetually on edge. The narrative evolves from a casual “hangout” scenario into a relentless “maelstrom of incident,” making it impressively unpredictable. The film’s “manic energy” is reminiscent of Martin Scorsese’s After Hours, with Griffin Dunne, the star of that classic, even making an appearance as Hank’s boss. While Caught Stealing shares a similar breakneck pace and a “general vibe of a nightmare that won’t end,” it distinguishes itself by fully embracing the “nightmarish aspects of bloodthirsty mobsters chasing you through the city.”
Beyond the non-stop chases and escalating peril, the film subtly touches on deeper themes. It critiques gentrification and explores the fluid line between friend and foe among New Yorkers. Hank’s journey is one of forced survival and coming to terms with his past trauma and deep-seated guilt. Aronofsky handles this internal pain with tenderness, preventing the film from becoming overly self-serious. Despite its occasional tonal whiplash, the film consistently delivers action and character-driven moments.
Frequently Asked Questions
What kind of movie is Darren Aronofsky’s “Caught Stealing” and how does it fit his filmography?
“Caught Stealing” is a gritty, 1998-set crime thriller with strong elements of dark comedy and action. It marks a significant departure for director Darren Aronofsky, known for intense dramas like “Requiem for a Dream” and “Black Swan.” While retaining his signature imaginative style and fascination with characters pushed to their limits, this film showcases a lighter, more accessible “Aronofsky-lite” side, leaning into a “manic energy” and “mischief-maker mode” rather than deep psychological torment.
How does Austin Butler’s performance in “Caught Stealing” compare to his previous roles?
Austin Butler, known for charismatic and often aloof characters like Elvis and Feyd-Rautha, takes on a more grounded, vulnerable role as Hank Thompson in “Caught Stealing.” While some critics suggest his youthful charm might initially seem at odds with Hank’s “languishing loser” persona, many laud his committed performance for its nuance and “quirky innocence.” He adeptly conveys Hank’s internal guilt, physical torment, and resilience, cementing his status as a versatile leading man capable of complex character work.
What are the standout aspects of the supporting cast and the film’s setting?
The supporting cast of “Caught Stealing” is widely praised, featuring standout performances from Matt Smith as the punk neighbor, Zoë Kravitz as Hank’s grounding girlfriend, and Regina King as a no-nonsense detective. Liev Schreiber and Vincent D’Onofrio are particularly noted for their “incredibly funny” yet brutal portrayals of Hasidic mobsters, providing unexpected comedic relief. The film’s setting in a meticulously recreated 1998 Lower East Side, New York City, is also a critical highlight, with Aronofsky’s personal connection to the city creating an authentic, “grimy exquisiteness” that serves as a vibrant backdrop for the chaotic narrative.
Conclusion: A Dizzying Ride Worth Taking
Caught Stealing is a fascinating cinematic stew that defies easy categorization. It’s a dizzying crime caper with a cruel streak, a dark comedy that doesn’t shy away from grim realities, and a meticulous recreation of a bygone New York era. While Aronofsky’s tonal tightrope walk occasionally wavers, the film largely lands its “big swings,” offering a refreshing pivot for the acclaimed director. Austin Butler delivers a compelling, nuanced performance that further solidifies his leading man status, even as his character’s internal struggles resonate differently with various critics.
Ultimately, Caught Stealing is best when it leans into its quirky characters, clever filmmaking, and relentless pace. It may not be a simple escapist film due to its unyielding portrayal of Hank’s harsh reality, but it’s an experience worth visiting once. For fans of Aronofsky, Butler, or gritty 90s New York thrillers, Caught Stealing promises an unpredictable and memorable ride. The film is set to open in theaters on August 29, 2025.
