When we put our eyes on the tenth or eleventh full -sized liquor bottle in the various hooks and hooks from Hank Thompsons (Austin Butler) Lower apartment in East Side, there is no doubt that this guy has problems. A generally directed personality, a seriously honest knee and recurring nightmares of an evil car accident holding him GASP To wake up in the middle of the night a long time ago telegraphed just that, and it’s all baked in the first 15 minutes of Darren Aronofsky’s Scuzzy and Off-Kilter “caught stealing.”
That kind of exhibition can fly better on the page – damn, it didLike Aronofskys film is based on a Charlie Huston novel of the same name, where the author also gives the function of the function – But it annoys when translated into a filmed adaptation. For all the structure of the film, which is managed in and around a New York City in a lively way retrofitted to history’s 1998-set specifications (costumes, music, places, the entire batch), the hammy way is important beats and plot points served in steps. It does not dive, at least until the film’s final act, which finally gathers Aronofsky’s different parts and shows an inclusion about what the filmmaker was trying to capture.
But the road there? Its longAnd filled with blood, intestines, legs, puke, crap and piss, plus an acute organ removal. None of it goes down easily, but for as gloomy and shit as “caught steal” is, it will really really go when leaning into the dark humor and deep absurdity at the center. “I wanted this crime to the hijacker to be more fun”? That is true – you want this crime captain to be funny Or at least more in line with itself, and the moments where it dares to suggest something much better, just below the surface.
But back to changing Hank. When the movie opens it is not so bad for the guy. He has a bartending job that he likes on a local joint, a nice semi-girlfriend (Zoë Kravitz as Yvonne) who wants to make things more serious and some baseball games to watch. In fact, his beloved San Francisco Giants – and we Know He loves Giants, thanks to his Giants hat, the Giants swamps and posters that decorate his apartment, and his eternal stop to his mother after their short phone call (“Go, Giants!”)-try to qualify for baseball after the season with a wild card clinch. (They will not and they did not.)
A strange thing? His punk -neighbor Russ (Matt Smith, who has an infectious amount of fun) leaves the city suddenly, and he would appreciate it if Hank could feed his cat, bud (tonic cat, in a star production). No sweat! Well, with the exception of the scattered dudes who show up, try to knock down Russ’s door and are clearly looking for something very difficult. When Hank is being herself with them, he loses both a kidney and the film’s sense of efforts. It is a question that will be ranked during the rest of the movie: considering what we know about these mobsters, why won’t Hank give them what they want?
Unfortunately, the answer is simply, “Well, he just won’t,” and then Hank’s journey starts into the criminal underground in central New York City and then, which these Mobsters gives way for more (and scary!) Baddies, all eager for what Russ hid (or not?) In his apartment. While the general form of Hank’s problems can hold a little – he has something that these people want, and he is not keen to share – the film’s strong supporting prices better at pursuing things. Griffin Dunne, Carol Kane, Liev Schreiber, Bad Bunny, Regina King, Vincent d’Onterfrio and more (plus a murderer’s row with recognizable NYC votes) add all to the type of spark as Butler’s more limited (and often quite convincing) does not really allow.
The supporting role also suggests somewhat convincing: the nature of performance itself. Does Hank just play on being a fuck-up baseball junkie, or does he hide deeper reserves? What does it mean that we can only see other characters through the lens in their job (“The Cop”, “The Gangster”, “The Yiddish MobS”) or their set costumes (Dunne hides under a dry wig, Smith’s giant mohawk is practically its own character)? Who here only plays to an expectation, and who can surprise us? Some do, but the turns that create these surprises, yes, they only feel as an exhibition as well.
Most often the tension between the film’s increasingly dark story and its love for rudimentary gags – would not be so Funny about this guy who mostly held on liquor physically couldn’t drink anymore? – Do not abolish until the final action of the film. It is when things click into place, when the big swings gather and “captured to steal” almost find their way to (insert your favorite positive baseball metaphor here). A wild card? Not wild enough, really.
Rating: C+
Sony Pictures will release “Capture Stealing” in theaters on Friday, August 29.
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