Caught Stealing

Essentially a throwback to pulpy 90s thrillers, Darren Aronofsky's 'Caught Stealing (2025)' is the kind of mid-budget, character-driven, star-studded movie they just don't make anymore. To be clear, they don't make these anymore not because they can't (or because "everything's too PC these days", which it honestly isn't - I mean, just look at the US President), but because they've created an environment in which this sort of thing just isn't viable. "They", of course, refers to the Hollywood studios who have basically split the marketplace into uber-expensive blockbusters and uber-cheap indie flicks with nothing in-between, pushed IP above talent or star power, decided that only certain types of film play in the cinema for the appropriate amount of time, and constantly wonder where they went wrong and why they keep losing money on tentpole pictures that make over $100 million dollars but still can't recuperate their mammoth production budgets. Regardless of the reasons it's so rare, it's lovely to see something like this on the big screen, a narrative so unconcerned with sequels or cameos that it can afford to be lean, mean and relatively unpredictable. This New York-set novel adaptation sizzles with a punky energy that's only outmatched by its delightfully irreverent end credits (if the movie itself had even half the scream-in-your-face intensity of its scrolling end sequence, it would surely be one of the most intense Hollywood movies in recent years). Anchored by a surprisingly 'normal man' performance from Austin Butler, who grounds what constantly threatens to be a ridiculous narrative and acts as an emotional lifeline for the far zanier actors he's surrounded by, the feature sprints forward at its own self-assured pace and forces you to chase it, leaving a bloody trail of named-character bodies in its wake and barely taking a second to acknowledge the dangerous zig-zagging route it takes you on. With an unwieldly tone but a steady hand, the film remains engaging and enjoyable for its majority. It feels like it wants to primarily be fun, but it's actually quite gruelling in its own way because it's incredibly violent, bleak and coated in an almost tangible layer of dirt that reflects its atmosphere and setting. It is entertaining, for sure, but it's never as much of a flippantly callous blast as it seems to think it is. It's too mean to be unmitigated fun, but it's zippy and zesty and especially well-made for the kind of souped-up B-movie it ultimately is. It's a really good effort, one that feels like a throwback both in its period setting and in its overall vibe. It's a bit of a weird one for Aronofsky to do, but it proves that he's ultimately just a film fan like the rest of us. Not everything needs to have thematic weight or a specific point, nor does it need to push the boundaries of style or feel wholly unique. Sometimes it's okay to be caught stealing from the past, to create something that doesn't blow the world away but would have been steadily rented from Blockbuster nevertheless. This is an entertaining experience from beginning to end, and it's surprisingly refreshing considering how basic it undeniably is. It's actually pretty great.

This is a (very) dark comedy. This is a very entertaining film. This is a surprise.

As you might expect from the above, I didn't have high expectations going in to see this - I'd seen the trailer, and wasn't convinced. However, it turned out I was wrong.

The cast really gave this film some welly. It almost seems wrong to single out anyone, but Butler, King, Kravitz, and Smith, clearly enjoyed their roles. Some of the other characters, notably Kukushkin, gave the film both an edge and humour.

The Director kept the movie pacing along, for what turned out to be a highly entertaining and fun film. The plot was vaguely bonkers, but worked well, and had some really tense, and some very funny moments; not always an easy juxtaposition to get right. The script was sparing, and well balanced.

It's nice to be proved wrong occasionally. This is a film well worth seeing.

The film is lacking. All the actors are doing their best (or good enough) but there is little to nothing to work with.

The beats are so familiar, the plot is trying too hard and there is zero emotional depth to any of it. The Austin Butler character is so flat and features zero nuance, such little complexity that I found myself frustrated at so many opportunities missed to add an interesting wrinkle.

The saving grace is that there is clearly talent involved in making the film so it's not a disaster. But I honestly would have preferred a terrible movie because it would have been less frustrating and easier to laugh at.

TLDR: Not interesting or different enough to pay for in theaters. Worth trying on streaming if you're a fan of any of the actors or find yourself curious.

I caught an advanced screening of Caught Stealing (2025) in theaters this evening. The storyline follows a California transplant living in New York who agrees to watch his neighbor's cat while the man is away caring for his sick father. Soon, a series of strangers begin showing up at his apartment, demanding to know his neighbor's whereabouts, and subjecting him to brutal beatings and torture in the process. What are they after-and can he find a way to help them before he, and everyone he knows, ends up dead?

This picture is directed by Darren Aronofsky (Requiem for a Dream) and stars Austin Butler (Elvis), Zoë Kravitz (The Batman), Matt Smith (House of the Dragon), Liev Schreiber (Scream), and Regina King (The Harder They Fall).

The story is clever and unpredictable, often feeling like a Guy Ritchie crime caper-but rooted deeply in a gritty, authentic New York setting. The cast delivers elite performances, and the plot is packed with sharp twists and turns. The cinematography and camera angles are equally impressive, enhancing the tension and style throughout.

The action is top-tier: abrupt fight scenes, thrilling car chases, sudden bursts of gore, and intense shootouts that all land with impact. Even the subplots, particularly those tied to the chases and crashes, are smartly executed. The ending is immensely satisfying, and the soundtrack is brilliant.

In conclusion, Caught Stealing isn't perfect, but it's an unpredictable and worthwhile rollercoaster of violence, intensity, and action. I'd score it a strong 7.5-8/10 and strongly recommend it.

Darren Aronofsky is one of those few filmmakers whose movies consistently resonate with me, largely due to their deep exploration of human emotions and complex character arcs.

'Black Swan', 'The Fountain', 'Mother', or even 'The Whale', each one of the films is a testament to his mastery in this particular aspect.

However, I was genuinely taken aback by his newest and most adventurous venture, 'Caught Stealing'.

It not only marks a significant departure from his typical style, sadly, it lacks the emotional depth and resonance I have generallg come to expect from him.

Main protagonist feels underdeveloped, and the supporting characters does not fare any better either in terms of engagement.

Whilst I appreciate that directors have the freedom to experiment and venture outside their comfort zones I personally would have preferred to see Aronofsky lean into his strengths with this one.

Although there are moments where his inherent skill for first building and then sustaining tension shines through, the overall emotional impact is surprisingly weak.

Stakes, despite the escalating chaos and rising body count, comes across as superficial, surface level as a result any intended emotional resonance is largely muted, and that's primarily due to the film's unwavering inclination towards dark comedic elements.

I really believe it could have benefited from a more conventional approach.