Aronofsky has always been a visceral director, the one constant on his complex, bumpy filmmaking ride. He’s made several movies which are in their way seminal. Pi was a masterclass in low-budget first film making. Requiem for a Dream genuinely pushed at boundaries of taste and cruelty in a way few US movies ever do. Mother! Was one of those authorial ventures (like The Fountain) that few filmmakers are ever given budget to go for, and Black Swan has emerged as a low-key classic and regular touchstone for alt-pysch drama, referenced mucho in industry script development labs. Caught Stealing doesn’t lack for the director’s visceral verve. The recreating of nineties NY, pre-Guiliani, with plenty of CGI images of the twin towers laced in, adds to the vibe. Sadly, around the point where Zoe Kravitz is killed off, the narrative begins to flag. The last half or so is a case of going through the motions, kicking and screaming. Caught Stealing feels like an assemblage, with some lovely cameos (Bad Bunny! Doctor Who!) and plenty of colour, but it can’t quite leap through the hoops of a third act whose denouement feels as though it might have been generated by AI.
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