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Im Jahr 1970 gelingt dem arbeitslosen Tischler James Blaine Mooney gemeinsam mit zwei Komplizen ein dreister Einbruch in ein Museum: Bei Tageslicht entwenden sie vier Gemälde. Doch der spektakuläre Kunstraub ist erst der Anfang. Die vermeintliche Beute wird zur Belastung, und Mooney sieht sich gezwungen, ein Leben auf der Flucht zu führen. Eingebettet in eine Ära des gesellschaftlichen Wandels – geprägt vom Vietnamkrieg und der wachsenden Frauenbewegung – entfaltet sich die Geschichte eines Mannes, der zwischen Kunst, Kriminalität und den Umbrüchen seiner Zeit seinen Platz sucht.
Avis de la communauté (12)
So this isn't a normal standard heist movie, it's a movie by Kelly Reichardt. If you have seen some of her other work you should know what to expect and should probably like this one as well. If you're new to her work, don't expect a typical 3 act structure, rise and fall story. The advice I would give is just go with the flow, it's a small scale, narrow focused character tale and very much a minimalist story with a great jazz score. If you just go with the vibes there is a lot to like, but if you are after a more standard heist movies maybe try some other 2025 releases like Den of Thieves 2: Pantera, The Pickup or Play Dirty because her movies are not what I'd call universal appeal.
A boring man steals boring art from a boring museum in a boring town, not realizing he haunts his life instead of living it.
"Minimalism doesn't work in a heist movie" I thought it was beautifully made and the score was fantastic, but the plot felt like it was a slow journey to nowhere. Kelly Reichardt's films get good reviews, but they can't seem to breakthrough in any way to me. I'm left waiting for something to happen!
In general, I'm more a fan of Josh O'Connor than I am of Kelly Reichardt, and more a fan of Kelly Reichardt the director than Kelly Reichardt the screenwriter. Here I really enjoyed the first half or so. The evocation of the time period was great and Josh O'Connor was terrific. But at a certain point, as with so many of Reichardt's films, the screenplay just stopped moving forward.
Really liked it: the long gloopy scenes (the lingering on the car as it drives away from Maude, the endless ladder faff in the barn, that entire rotating camera shot when he’s faffing with the passport), the jazz, the entire opening casing-the-joint bit, every shot where he’s inside a car, Fred smoking over coffee, the almost complete lack of dialogue, the suit, the vertical credits text, the ending. I’ve not ‘got’ Josh O’Connor before – and yes I’ve seen your little ‘Challengers’ – but between this and Wake Up Dead Man I’m all in on the pretty bastard now. Bring back long scenes! Someone decided 25 years ago that every scene needs to be 90 seconds maximum and always Do Something. Bring back long scenes and late cuts!