eddie_baggins
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Arguably the least Darren Aronofsky feeling film of his career, the man responsible for the likes of Requiem for a Dream, The Wrestler and recent hit The Whale is back with the almost impossible to categorize dark comedy crime drama Caught Stealing, an intriguing experience that's never able to make the leap into the territory of a must-see.
A collaboration with screenwriter Charlie Huston, here adapting his own 2004 novel, it's hard to know exactly what Aronofsky wanted the audience to get from Stealing as it blurs the line between straight up crime drama, cat and mouse thriller, Coen Brother lite dark comedy and quirky New York fable, becoming a much gloomier affair than audiences might be expecting when they first meet Austin Butler's down on his luck ex-baseball prodigy Hank Thompson in NYC in the late 90's.
Unafraid to pull some shocks, unleash some serious carnage and let its cast of unsavoury individuals loose throughout its running time, Stealing keeps things moving at a fairly rapid pace and Butler is as good as his ever been as the likable but frustrating Thompson but you can feel Aronofsky's Americanised version of Snatch is never completely at home with itself as it jumps around its jam-packed narrative and colourful characters.
Starting out straight forward enough, there's an abundance of stories within stories to be found here, from Thompson's tragic backstory, his relationship with Zoe Kravitz's kindly paramedic Yvonne, Matt Smith's scene-stealing mohawked Russ and keys hidden in highly ingenious places, Stealing is a lot and by attempting to balance out so many things it once it never feels as though anything is allowed to grow or prosper the way they might have had Aronofsky managed to dial in with more focus as his films chaos and carnage takes hold.
While much of Stealing does feel slightly unfocussed and even at time scattershot, there's no denying that there's an energy here that feels palpable and raw and the collection of performances from the films talented cast can't go unnoticed with Butler in particular proving the diverse nature of his talents, proving once and for all he's more than Elvis or a bald big bad with his Thompson a perfect chance for the rising star to test his mettle playing an everyday person up against the tidal wave that can be life, Butler shines here whether his hanging out with his talented human pals/enemies or a snarky feline.
Attracting decent reviews and audience reactions upon release as well as acceptable box office hauls from around the globe, it would be hard to call Stealing a raging success but it provides a good time for those checking it out if they're willing to partake in a seriously bleak crime caper that at times masquerades as a dark comedy outing.
Final Say -
Arguably not the modern crime film it might have been with a little more fine-tuning, Caught Stealing is an interesting latest addition to the Aronofsky C. V that provides good solid cinematic value while showcasing the increasingly undeniable skillset of its leading man Austin Butler.
3 1/2 cat litter trays out of 5.
A collaboration with screenwriter Charlie Huston, here adapting his own 2004 novel, it's hard to know exactly what Aronofsky wanted the audience to get from Stealing as it blurs the line between straight up crime drama, cat and mouse thriller, Coen Brother lite dark comedy and quirky New York fable, becoming a much gloomier affair than audiences might be expecting when they first meet Austin Butler's down on his luck ex-baseball prodigy Hank Thompson in NYC in the late 90's.
Unafraid to pull some shocks, unleash some serious carnage and let its cast of unsavoury individuals loose throughout its running time, Stealing keeps things moving at a fairly rapid pace and Butler is as good as his ever been as the likable but frustrating Thompson but you can feel Aronofsky's Americanised version of Snatch is never completely at home with itself as it jumps around its jam-packed narrative and colourful characters.
Starting out straight forward enough, there's an abundance of stories within stories to be found here, from Thompson's tragic backstory, his relationship with Zoe Kravitz's kindly paramedic Yvonne, Matt Smith's scene-stealing mohawked Russ and keys hidden in highly ingenious places, Stealing is a lot and by attempting to balance out so many things it once it never feels as though anything is allowed to grow or prosper the way they might have had Aronofsky managed to dial in with more focus as his films chaos and carnage takes hold.
While much of Stealing does feel slightly unfocussed and even at time scattershot, there's no denying that there's an energy here that feels palpable and raw and the collection of performances from the films talented cast can't go unnoticed with Butler in particular proving the diverse nature of his talents, proving once and for all he's more than Elvis or a bald big bad with his Thompson a perfect chance for the rising star to test his mettle playing an everyday person up against the tidal wave that can be life, Butler shines here whether his hanging out with his talented human pals/enemies or a snarky feline.
Attracting decent reviews and audience reactions upon release as well as acceptable box office hauls from around the globe, it would be hard to call Stealing a raging success but it provides a good time for those checking it out if they're willing to partake in a seriously bleak crime caper that at times masquerades as a dark comedy outing.
Final Say -
Arguably not the modern crime film it might have been with a little more fine-tuning, Caught Stealing is an interesting latest addition to the Aronofsky C. V that provides good solid cinematic value while showcasing the increasingly undeniable skillset of its leading man Austin Butler.
3 1/2 cat litter trays out of 5.
Quickly becoming known as one of the greatest flops yet in the prestigious history of beloved animation studio Pixar, earning an extremely disappointing $153 million worldwide off a reported budget of $150-$200 million when it was released earlier in 2025, Elio may on paper have all the hallmarks of a quality Pixar outing but sadly this science fiction infused family adventure lacks the special charm and imagination that would've made this outing stand out.
Enlisting the support of three directors, including some of the brains behind Pixar outings Turning Red and The Good Dinosaur, Elio had a lot of chefs in the kitchen trying to manage all the ingredients going into this melting pot of many familiar and well-trodden tropes that are clearly inspired by the heydays of 80's adventure films and prime Steven Spielberg but the final dish that gets served up to us is one that never feels completely at peace with itself as its heartfelt moments, comical hijinks and coming of age elements come and go without much too hold onto.
Oddly marketed on its way to release, a very strange occurrence for a big screen Pixar outing, it seems as though even Disney wasn't sure on how to sell Elio to the masses and when watching this 98 minute film take place it's easy to see why as the story of alien loving boy Elio being taken on an intergalactic journey that takes a solid 40 - 50 minutes to take shape is a strangely uninvolving narrative that shows glimmer of wonder and comedic potential but fails to grasp any of its concepts confidently or intelligently.
Potentially too mature in story and concepts for young viewers and too tame and uneventful for those older children, it's also hard to see who Elio is aimed at with Pixar's frequent ability to be able to craft animated films that magically transcend age and backgrounds not on show here, giving Elio a tough task of trying to make up for its confused and messy identity and reason to exist.
Another flaw in this colourful and well-intentioned slice of forgettable animated pie is the animation itself.
In a climate where we've just had eye-capturing animated features such as Flow, The Wild Robot and Inside Out 2 hit big screens and streaming services in recent times, Elio stands out for the wrong reasons in the aesthetics department as while there's a lot happening in front of us, nothing stands out from the bland lifeless depiction of Elio himself through to the otherworldly surrounds of deep space, Elio fails to inspire in its creative endeavours, creating an overall feeling of blandness that was usually non-existent in prime Pixar worlds.
Final Say -
There's little chance that Elio makes up for its disastrous cinema run now it's available for viewers at home, as while it's all very inoffensive and harmless, there's little reason to encourage anyone to track down this forgettable outing when they'd be better off picking out their favourite Pixar classic instead.
2 1/2 eye patches out of 5.
Enlisting the support of three directors, including some of the brains behind Pixar outings Turning Red and The Good Dinosaur, Elio had a lot of chefs in the kitchen trying to manage all the ingredients going into this melting pot of many familiar and well-trodden tropes that are clearly inspired by the heydays of 80's adventure films and prime Steven Spielberg but the final dish that gets served up to us is one that never feels completely at peace with itself as its heartfelt moments, comical hijinks and coming of age elements come and go without much too hold onto.
Oddly marketed on its way to release, a very strange occurrence for a big screen Pixar outing, it seems as though even Disney wasn't sure on how to sell Elio to the masses and when watching this 98 minute film take place it's easy to see why as the story of alien loving boy Elio being taken on an intergalactic journey that takes a solid 40 - 50 minutes to take shape is a strangely uninvolving narrative that shows glimmer of wonder and comedic potential but fails to grasp any of its concepts confidently or intelligently.
Potentially too mature in story and concepts for young viewers and too tame and uneventful for those older children, it's also hard to see who Elio is aimed at with Pixar's frequent ability to be able to craft animated films that magically transcend age and backgrounds not on show here, giving Elio a tough task of trying to make up for its confused and messy identity and reason to exist.
Another flaw in this colourful and well-intentioned slice of forgettable animated pie is the animation itself.
In a climate where we've just had eye-capturing animated features such as Flow, The Wild Robot and Inside Out 2 hit big screens and streaming services in recent times, Elio stands out for the wrong reasons in the aesthetics department as while there's a lot happening in front of us, nothing stands out from the bland lifeless depiction of Elio himself through to the otherworldly surrounds of deep space, Elio fails to inspire in its creative endeavours, creating an overall feeling of blandness that was usually non-existent in prime Pixar worlds.
Final Say -
There's little chance that Elio makes up for its disastrous cinema run now it's available for viewers at home, as while it's all very inoffensive and harmless, there's little reason to encourage anyone to track down this forgettable outing when they'd be better off picking out their favourite Pixar classic instead.
2 1/2 eye patches out of 5.
Apple's latest collaboration with Ted Lasso and Shrinking star Brett Goldstein, William Bridges sci-fi founded romantic drama is a film with big ideas and lots of possibilities but after a relatively strong starting section, All of You fails to capitalise on its great concept and gives way to a tedious feeling pattern that fails to inspire.
Set in a near future where the world has embraced new technology that can identify one's soulmate too ensure romances and relationships are destined for great success, You has a world of potential at its fingertips as this foundation is laid for Goldstein's Simon and Imogen Poots Laura, two strongly tied university friends, to be a part of but this fantastic idea is left relatively unexplored as Simon and Laura's will they or won't they romance gets stuck in a repetitive loop.
A dialogue driven drama that asks a lot from Goldstein and Poots from an acting perspective, with both performers giving it their all, You struggles to allow its main characters to become truly likable figures and as the answer so clearly lays before them and they continue to make poor decision after poor decision, Bridge's film starts to suffer from the fact both Simon and Laura aren't exactly the most engaging of central characters and watching their back and forward becomes far less engaging as the films 90 minute runtime begins to drag.
It's a shame for the film and the audience that Simon and Laura's complicated relationship and emotional connection wasn't able to establish itself to a higher degree as there are signs of something special laying within the grasp of this undeniably high-concept offering, early on there feels like a whole world waiting to be explored through these two intelligent leads navigating a whole new universe where the mystery of love has been unlocked.
These early day signs however begin to slowly but surely give way to a far more generic and cookie-cutter experience that feels akin to any day time soapy one may have had the fortune (misfortune?) to come across and one can't help but escape the feeling Goldstein and Bridges collaboration had a chance to become something really special more so than something with mere glimmers of greatness.
Final Say -
All of you presents audiences with a fascinating concept that ends up feeling like more of a tease than anything else, making All of You an intriguing failed chance to become one of the year's special streaming releases as well as one of the year's top class romantic dramas.
2 1/2 head-rest free seats out of 5.
Set in a near future where the world has embraced new technology that can identify one's soulmate too ensure romances and relationships are destined for great success, You has a world of potential at its fingertips as this foundation is laid for Goldstein's Simon and Imogen Poots Laura, two strongly tied university friends, to be a part of but this fantastic idea is left relatively unexplored as Simon and Laura's will they or won't they romance gets stuck in a repetitive loop.
A dialogue driven drama that asks a lot from Goldstein and Poots from an acting perspective, with both performers giving it their all, You struggles to allow its main characters to become truly likable figures and as the answer so clearly lays before them and they continue to make poor decision after poor decision, Bridge's film starts to suffer from the fact both Simon and Laura aren't exactly the most engaging of central characters and watching their back and forward becomes far less engaging as the films 90 minute runtime begins to drag.
It's a shame for the film and the audience that Simon and Laura's complicated relationship and emotional connection wasn't able to establish itself to a higher degree as there are signs of something special laying within the grasp of this undeniably high-concept offering, early on there feels like a whole world waiting to be explored through these two intelligent leads navigating a whole new universe where the mystery of love has been unlocked.
These early day signs however begin to slowly but surely give way to a far more generic and cookie-cutter experience that feels akin to any day time soapy one may have had the fortune (misfortune?) to come across and one can't help but escape the feeling Goldstein and Bridges collaboration had a chance to become something really special more so than something with mere glimmers of greatness.
Final Say -
All of you presents audiences with a fascinating concept that ends up feeling like more of a tease than anything else, making All of You an intriguing failed chance to become one of the year's special streaming releases as well as one of the year's top class romantic dramas.
2 1/2 head-rest free seats out of 5.
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