Punk beats, blood streets
Strap: From dive bars to crime wars, Austin Butler’s Caught Stealing roars onto screens, hitting Bangalore theatres this August 29
OB Bureau
Few filmmakers can stir anticipation like Darren Aronofsky, and his upcoming film Caught Stealing is already making waves. Adapted from Charlie Huston’s novel, the movie shifts Aronofsky’s gaze from existential dramas to a gritty neo-noir crime thriller set in pre-9/11 New York—a city alive with dive bars, punk rock, and criminal undercurrents.
At the heart of the story is Hank Thompson, played by Austin Butler. Once a promising baseball player, Hank’s life derails, leaving him adrift in the East Village bar scene. A simple pet-sitting job for a neighbour takes a dark turn when he’s mistaken for someone with mob connections, forcing him into a violent spiral of crime, survival, and deception.
Butler, fresh off Elvis and Dune: Part Two, delivers a performance that early reactions have hailed as raw, believable, and magnetic. His portrayal grounds the film’s chaos with humanity. Surrounding him is an ensemble stacked with star power—Zoë Kravitz, Regina King, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Carol Kane, Griffin Dunne, and even Bad Bunny—each adding a layer of unpredictability. King’s commanding presence and Smith’s volatile energy, in particular, stand out as potential scene-stealers.
Adding to the film’s visceral punch is its soundtrack by Idles, the British punk band known for uncompromising, high-voltage music. Their sound injects the narrative with a pulsing, anarchic heartbeat, perfectly matching Aronofsky’s chaotic vision of New York’s underbelly.
Tonally, Caught Stealing has been described as one of Aronofsky’s most accessible works. While fans will recognise his trademark intensity and darkness, this film promises a livelier, faster-paced ride—closer to Scorsese’s After Hours or the Safdie brothers’ thrillers than to the psychological operas of Black Swan or Mother!. The casting of Griffin Dunne, who starred in After Hours, seems a deliberate nod to that lineage.
That balance—between Aronofsky’s bite and a more audience-friendly energy—is what critics are most intrigued by. The film may not be designed as an Oscar vehicle, but its craftsmanship, atmosphere, and performances could make it one of 2025’s most compelling thrillers.
If Caught Stealing manages to harness its neo-noir grit, showcase Butler’s range, and avoid tipping into stylistic excess, it could easily emerge as a dark horse hit of the year. With its mix of tension, style, and punk-fuelled anarchy, Aronofsky may have delivered his most entertaining film yet.
Caught Stealing releases worldwide on August 29, 2025.