It’s rare to walk into a theatre knowing almost nothing about a film and walk out buzzing with excitement. That’s what happened with Caught Stealing.
There wasn’t much noise around it before release, even with a cast loaded with familiar names. I didn’t even watch the trailer until later on, and I’m glad I didn’t. The second trailer, in particular, gives away too much. Basically, let's say you haven't heard anything about this film, do not watch the trailers.
The biggest shock for me was learning this was directed by Darren Aronofsky. His films usually carry a heavy psychological weight. Think Requiem for a Dream, Black Swan and The Whale. Those movies stay with you long after you’ve left the theatre. Caught Stealing doesn’t fit that mould. It’s much more accessible, and surprisingly fun while still carrying traces of his character-driven approach. Halfway through, I kept thinking, how is this the same director who gave us Requiem for a Dream?
Caught Stealing is a 2025 American crime thriller, produced and directed by Darren Aronofsky from a script by Charlie Huston, based on Huston’s own book. The cast include Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Benito Martínez Ocasio, Griffin Dunne, Carol Kane. The score is written by Rob Simonsen and recorded by the British post-punk band Idles. That collaboration pays off by giving the film a very distinct sound signature.
Synopsis
The story follows Hank Thompson, a burnt-out former baseball player drifting through 1990s New York. His life takes a sharp turn when he gets pulled into the city’s criminal underbelly- thanks to a neighbour and a cat. What starts as a small scrape quickly spirals into a fight for survival as Hank is forced to navigate a violent world he doesn’t understand and can’t control.
The look and feel
I wouldn’t call this a beautiful film because it's more of a cinematic experience. The cinematography gives it a gritty street-level feel, while still maintaining a cinematic edge. What you expect from the poster is exactly what you get on screen.
The late 90s aesthetic is nailed almost to perfection. Everything looks authentic, the boxy TVs, landline phones and emergence of mobile phones, bulky appliances, and even the colour of the wallpaper in cramped apartments.
The extras look like they’ve walked straight out of the decade. Costumes, set design and colour grading all combine to create a world that feels lived-in and a little grimy in the right way.
One thing that stood out is how visually distinct each character is. The costumes and makeup aren’t flashy, but they’re specific enough to help you quickly tell characters apart and understand their personalities.
Matt Smith carries a cold, sharp presence, while the "brothers" have a cultural edge that makes them instantly recognisable. That level of attention to detail pays off because in a crime story with a lot of moving pieces, it helps when the characters are so visually clear.
Violence
I need to talk about the violence. It's slick, stylised action you see in something like the latest Road House. The punches here land with weight. People get injured, scars are shown, and hospital visits happen. It feels brutal and uncomfortable but also weirdly fun in its realism. There is a playful approach to it that while the film is still brutal there’s a lot of fun that comes with that package.
Music and sound
The music is another highlight. From the opening, it’s almost functioning like another character in the film. The choice of songs is bold, and the collaboration with Idles gives the score a raw, grinding energy that matches the world on screen. It not only in the background, it pushes scenes forward. Some viewers might find it overpowering, but for me, it fits perfectly.
Performances
Austin Butler carries the film as Hank. He nails the mix of toughness and vulnerability the role requires. This isn’t the clean, polished Butler from Elvis. Here he looks worn down and desperate, and he sells it.
Regina King is the standout for me. She plays a role that threads into the tone of the film perfectly, bringing familiar but yet unpredictable tropes without overplaying it.
Zoë Kravitz is fantastic in her scenes with Butler, and even though her role isn’t huge, she makes the most of it. Matt Smith is cool, his look and attitude giving him a presence that stays with you. Vincent D’Onofrio’s role is smaller but intriguing, the kind of part that makes you want more whenever he shows up.
And yes, the cat. It’s not just a gag, the cat is actually one of the most memorable parts of the story. Maybe, that’s my bias as a cat person talking, but it genuinely adds to the character of the film.
Story and direction
One of the film’s strengths is how the story escalates. The first two acts feel familiar if you’ve seen any Guy Ritchie film, street level crime, sharp dialogue, oddball characters. But in the third act, Aronofsky’s fingerprints become obvious. The film turns into a character study, pressing its leads into corners and forcing them to show who they really are under pressure. That’s when it shifts from just being entertaining to being memorable.
Where it falters
That said, the film isn’t perfect. The tone is uneven. At times it plays as a straight crime thriller, at other times as a dark comedy. The switch between the two sometimes doesn’t always land.
I also wanted more introspection from Butler’s character. The quieter moments would have added real depth.
Then there’s the issue of under-used supporting characters. Liev Schreiber, Vincent D’Onofrio and Matt Smith all deliver strong work but don’t get much screen time.
Their presence lingers, but you wish the film gave them more space. In fact, I wish we could get a stand-alone film following Liev Schreiber and Vincent D’Onofrio.
Final thoughts
Caught Stealing is stylish without being slick, gritty without feeling cheap, and carried by a strong lead turn from Butler. The uneven tone and underutilised cast hold it back, but they don’t outweigh the film’s energy and character.
What surprised me most was how Aronofsky made a crime thriller that’s actually fun, while still slipping in the kind of character-driven drama he’s known for. By the end, it doesn’t feel like a throwaway genre piece, it feels like his take on the genre, and that makes it a very good time in the theatres.
