"Everything is as it should be."

                                                                                  - Benjamin Purcell Morris

 

 

© all material on this website is written by Michael McCaffrey, is copyrighted, and may not be republished without consent

Follow me on Twitter: Michael McCaffrey @MPMActingCo

Caught Stealing: A Review – A Criminally Awful Movie

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1 out of 5 stars

My Recommendation: SKIP IT. An instantly forgettable and irritatingly moronic movie that when it isn’t being incoherent is idiotic.

Caught Stealing, directed by Darren Aronofsky and starring Austin Butler, is a “black comedy crime thriller” that follows the travails of Hank (Butler), a former baseball player turned alcoholic bartender who unwittingly gets mixed up with a bevy of New York criminal gangs. 

I vividly remember twenty-five years ago seeing director Darren Aronofsky’s film Requiem for a Dream (2000) - a gritty and cinematic examination of addiction, and immediately thinking, “this guy is gonna be something!”

A quarter of a century later I have been proven absolutely correct in my assessment, Aronofsky has become “something”, but unfortunately the “something” he has become is the feckless hack who made Caught Stealing, one of the more abysmal and idiotic films of the year.

It didn’t have to be this way. Aronofsky, a graduate of the esteemed AFI Conservatory, started out making ambitious arthouse fare like PI (1998), and then graduated to ambitious arthouse projects with some crossover mainstream appeal, such as the previously mentioned Requiem for a Dream, The Fountain (2006), The Wrestler (2008) and Black Swan (2010).

All of these movies were very good…but never quite touched upon greatness…but what they did most of all was showcase Aronofsky’s potential. They left cinephile/film bros like me with the feeling that Aronofsky was going to make the leap one day and become THE GUY.

In 2014 Aronofsky attempted to make that leap to even more mainstream success than he had with The Wrestler and Black Swan, with the big budget movie Noah (2014) starring Russell Crowe – based on the biblical tale.

Noah was a very moderate box office success (it made $359 million - essentially breaking even due to its large budget), but it was a horrendously awful film – just utter garbage from start to finish.

It was at this point that the Aronofsky film bro bubble burst like the deluge that flooded the earth in Noah.

Following Noah, Aronofsky made Mother! (2019), a very ambitious, dare I say experimental, arthouse film starring Jennifer Lawrence (at the height of her powers), and it was universally panned and flopped at the box office. The wheels seemed to be off the wagon at that point.

Aronofsky’s most recent film was The Whale (2022) a truly insipid piece of dramatic detritus that won Brendan Fraser a Best Actor Oscar (yes, that really happened despite all of us forgetting about it…or trying to forget about it).

Despite Aronofsky’s failings on Noah, Mother! and The Whale, at least he was trying…failing but trying. With Caught Stealing, it feels as if the wheels aren’t just off the Aronofsky wagon, but the wheelless wagon is overturned in a ditch and Aronofsky is next to it curled in fetal position weeping uncontrollably in a pile of horse manure.

For such a promising talent like Aronofsky to make such a dead-eyed, instantly forgettable, truly idiotic piece of trash like Caught Stealing isn’t just disappointing, it is frightening. I mean, if he could fall so low as to make this movie, how low could the rest of us fall in our own lives? Yes, I am sure Aronofsky was paid more to make this movie than I’ve ever made in my entire life…but you get my point.

Caught Stealing is lazy and stupid and useless. It is a “black comedy” that is allergic to being funny. It is a crime thriller devoid of thrills.

The script, written by Charlie Huston - based upon his book of the same name, is incoherent and moronic. There are all sorts of incomprehensible plot twists and a cornucopia of caricatures in place of characters, and none of it makes sense or even remotely captivates or compels.

The performances all feel like something out of a sixth-grade talent show.

Austin Butler is supposed to be the next big thing. I was believing the hype on young Austin, as I thought he was good in Once Upon a Time in Hollywood, Elvis, and Dune II. But let me tell you…after seeing Butler’s star turn in Caught Stealing I have come to realize he ain’t no burgeoning movie star. He might be a successful supporting actor type guy, but he can’t carry a movie to save his life.

Butler is brutally bad as Hank. He is obviously hampered by the trite and inane script, but Butler does himself no favors with a lifeless and mannered performance. He is so devoid of charisma and screen presence they would’ve been better served casting an inanimate carbon rod in the role instead.

Other once promising actors find themselves wallowing in the same shit script as Butler…as Regina King, Zoe Kravitz, Matt Smith, Liev Schreiber, Griffin Dune, Carol Kane and my old friend Vincent D’Onofrio all turn in gruesomely amateurish performances that sully their reputations.

Caught Stealing bombed at the box office, making $32 million on a $65 million budget, and is now streaming on Netflix, which is where I saw it. The film runs an hour and forty-seven minutes, and is right at home among the usual mindless Netflix slop. This is the type of movie you watch while scrolling on your phone or while having sex with your girlfriend on the couch after your parents go to bed early.

I wish Darren Aronofsky was good. I wanted Darren Aronofsky to be great. But Darren Aronofsky isn’t good and he isn’t great…he’s the guy who made the thoughtless, mindless, worthless Caught Stealing. How disheartening.

©2025

Dune: Part Two - An Arthouse Blockbuster Rises From the Desert

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 3 out of 5 stars

My Recommendation: SEE IT/SKIP IT. If you’ve read the book, see the movie in a good theatre (emphasis on “good”). If you haven’t read the book, you should read it because it’s very good…and then watch the movie when it hits streaming.

Dune: Part Two, written and directed by Denis Villeneuve based on the classic science fiction book series by Frank Herbert, continues telling the tale of the struggle for the control of the pivotal, resource-rich planet, Arrakis, also known as Dune.

The film, which stars Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler and Florence Pugh, among many others, is the sequel to Dune (2021), a Best Picture nominee and six-time Academy Award winner.

Last Saturday I ventured out to the cineplex to see Dune: Part Two, which no doubt will be ending its theatrical run in the coming weeks having been initially released on March 1st.

I went to the 11:50 am showing because I had a very tight window in which to see the two-hour and forty-five-minute film, and that show was the only one that worked.

I went to a Regal theatre which I’d never been to before…and my experience was…dismaying.

First off, the theatre was a confusing mess that felt like it hadn’t been cleaned or refurbished in forty years.

Secondly, the ticket printer wasn’t working so I had to wait forever to get my actual ticket.

Thirdly, when I went into the screening room, it was 11:45 am – plenty of time before the film started, but unfortunately the film didn’t start at 11:50 am. No, the commercials which were already running pre-show continued at 11:50…and kept going and going and going….until 12:10 pm…and then the film still didn’t start…but the previews did. The actual movie didn’t start until 12:20, a full half hour after the listed start time.

What are we doing people? I get maybe ten minutes of previews and commercials, but thirty minutes?

And to top it all off, Regal, like nearly every cinema in America – and certainly every cinema in fly-over country where I currently reside, has a shitty, poorly maintained digital projector that is too dark, and a screen that is too small, and theatre lights that are never dimmed enough. The end result is it feels like you’re watching a movie underwater, or worse, like watching a movie at a drive-in in broad daylight because corporate theatre companies have no interest in spending money on upgrades to their venues, most notably their god-awful projectors.

So that was the context of my Dune: Part Two movie going experience…and yet, I was still able to enjoy the film to a certain degree despite having to literally imagine in my mind what each gloriously framed shot from Denis Villeneuve and cinematographer Greig Fraser actually looked like as opposed to the muddied mess I was presented at Regal.

As for the film itself, Dune: Part Two picks up exactly where its predecessor finished, and both movies combined tell the story contained in Herbert’s first book titled Dune – which chronicles Paul Atreidis struggle to survive on Dune following an invasion and the murder of his father the king, and then his attempt to avenge his father’s death and conquer the planet. A third film, titled Dune: Messiah, is allegedly being made and is to be based on the book of the same name which is the second book in Herbert’s series.

Dune: Part Two is what I would describe as an arthouse blockbuster. Villeneuve is a highly skilled auteur, and his cinematic capabilities are on full display in this film – the same ones that garnered the first Dune film a bevy of below the line Academy Awards (Cinematography, Sound, Editing Visual Effects, Production Design), but so are his weaknesses.

For example, the fight scenes, action scenes and battle scenes are a mixed bag. Some are spectacularly well-conceived and miraculously executed, while others, particularly the climactic battle and subsequent individual fight, are underwhelming and visually muddled.

Another weakness of the film, and in my opinion its greatest, is the acting of its two leads. Timothee Chalamet is a mystery to me. I don’t think he’s a very good actor, and while he is passable as Paul “Muad’Dib” Atreides in Dune: Part Two, he still isn’t very good. Chalamet is such a wispy, flimsy, charisma-free screen presence that it seems so improbable he be a messianic leader to a warrior tribe as to be ridiculous.

An even bigger problem is Zendaya. I really have no idea how Zendaya became such a massive star, but it sure as hell wasn’t because of her acting talent. Zendaya is actively awful in the role of Chani, Paul’s love interest, to a distracting degree. All she seems able to do is give a dead-eyed pout.

Both Chalamet and Zendaya are incapable of being anything on-screen other than petulant Gen-Z poseurs, and that is a terrible burden for a film which is mostly populated by a cast of rather skilled professionals, set in an imagined science fiction future.

Speaking of disastrous casting decisions, Christopher Walken plays the Emperor Shaddam IV, and is egregiously atrocious. Walken is doing Walken things and it all feels so out of place as to be cringe-worthy.

On the bright-side, there are some very noticeable performances. Austin Butler is fantastic as the ferocious Feyd-Routha, and chews the scenery with a relentless aplomb. I couldn’t help but wonder if Butler should’ve been playing Paul instead of Chalamet, although he might be too old.

Rebecca Ferguson is as solid as they come and she certainly doesn’t disappoint as Lady Jessica, Paul’s mother and a spiritual figure to the Fremen people. Ferguson is such a striking screen presence and magnetic actress it is astonishing she doesn’t work even more than she already does.

Florence Pugh, Josh Brolin, Javier Bardem and Lea Seydoux all give solid supporting performances as well.

When I saw the first Dune film I was about sixty pages into the book Dune, so I knew enough to know what was happening, but not enough to really understand it.

Having now read the first three books of the Dune saga – which is phenomenal by the way, I have a much greater understanding of everything going on in the story, and that is both a blessing and a curse.

It’s a blessing because Villeneuve tells these stories in shorthand, and expects viewers to understand the references being made. Having read the books I know understand those references and it makes the movies much more enjoyable.

On the downside, Villeneuve does make some pretty substantial changes to the story (I won’t say what exactly to avoid spoilers), particularly in Dune: Part Two. I understand why changes like this are made in film adaptations of books, they’re not the same storytelling mediums so this is inevitable, but it is still jarring and makes the whole enterprise feel a bit watered-down. To be frank, the story in the book is much better than the story in the movie…but that is usually the case when it comes to adaptations.

Dune: Part Two has done very well at the box office thus far, generating $574 million on a $190 budget. If this were a Marvel movie it would be considered a disappointment…but it isn’t a Marvel movie…and that’s important.

Villeneuve’s Dune franchise is off to a very steady start and is successfully threading the needle between box office success and artistry. The first film won 6 notable Academy Awards, and this one will be contending for those same awards.

Marvel seems to be a dying entity and no genre/IP is thus far poised to take its place. Dune represents not so much a replacement for Marvel IP, but a replacement for the idea of movies that Marvel has propagated. Instead of making movies expecting a billion-dollar box office, maybe Dune sets the expectations that auteurs can venture into the land of IP and use their artistry and vision to create something new that is both respected as art but also as blockbuster entertainment (with the definition of blockbuster scaled back ) – hence my description of Dune: Part Two as arthouse blockbuster.

If Dune and this type of filmmaking is the future of blockbusters, then sign me up. Villeneuve is a highly-skilled moviemaker, and despite his flaws he never fails to make something visually compelling and dramatically interesting.

Dune: Part Two isn’t for everybody. In fact, I’d say, if you haven’t read the books then you’d probably struggle to understand what is happening a good portion of the time. That said, I’d highly recommend the books as they are fantastic…and then once you’ve read the first book check out Dune and Dune: Part Two.

My recommendation for cinephiles, those who have read the book and those who enjoyed the first film, is to go see Dune: Part Two in a good theatre.

Unfortunately for me, I will have to wait until Dune: Part Two becomes available on streaming where I can watch it in my home, without thirty minutes of commercials and with superior audio-visual equipment, before I can accurately judge and thoroughly comment on its true cinematic value.

 Follow me on Twitter: @MPMActingCo

©2024

Looking California and Feeling Minnesota: Episode 119 - Dune: Part Two

On this episode, Barry and I don our stillsuits and head to Arrakis to discuss Denis Villeneuve's new film, Dune: Part Two, starring Timothee Chalamet and Zendaya. Topics discussed include the dismal state of modern cinemas, the weak acting of Li'l Timmy and Zendaya, and the future of sci-fi movies. 

Looking California and Feeling Minnesota: Episode 119 - Dune: Part Two

Thanks for listening!

©2024