2025 is really Josh O’Connor’s year, and it’s all the better for it. This is the third film I saw where he has a leading or prominent role, and I might try to catch The History Of Sound, where he’s a co-lead with Paul Mescal. Those who are still unfamiliar with the English actor apart from his role as then-Prince Charles in The Crown will likely see him in Steven Spielberg’s latest sci-fi Disclosure Day out next Summer. I love that O’Connor has continued to juggle big-budget and smaller fares like this one by Kelly Reichardt.
O’Connor fits Reichardt’s penchant for minimal dialogue and realistic acting, playing an unemployed architect named James Blaine (JB) Mooney, who steals four paintings from a local museum. When one of his friends backs out of the plan, JB becomes the getaway driver. The heist itself goes down pretty quickly and easily, but JB discovers that keeping the art is way harder than actually stealing it.
The Mastermind is a unique, unconventional heist film because it has very little action, so don’t expect thrilling car chases (or any chases for that matter) or over-the-top shootouts. What we get is the aftermath of the heist and what life is like on the run, which is something JB fails to consider. Here’s a privileged guy who’s been living off his well-to-do parents’ kindness. JB’s father (Bill Camp) is a well-respected judge who doesn’t think highly of him, and we see him asking his mother (Hope Davis) for money. JB’s wife, Terri (Alana Haim), is basically the breadwinner and has to deal with the consequences of her husband’s shortcomings.
The title is laden with irony since the term ‘mastermind’ makes you think of someone with exceptional intelligence who can devise a clever plan. JB appears to be quite the opposite, but under his unassuming exterior, there’s a sense of superiority and entitlement. His interactions with his school buddy Fred (John Magaro) and especially his wife, Maude (Gaby Hoffman), really shed light on the true nature of JB.
Now, if you’re not familiar with Reichardt’s work, this movie might bore you to tears. Having seen two of her films previously, Certain Women and Showing Up, she has a minimalist, slow cinema style, which highlights the subtle, raw truths of everyday Americans, particularly women and drifters. Her movies highlight the beauty in mundane everyday tasks and experiences, often made on tight budgets and limited film stock.
I have to admit this one tests my patience quite a bit, even though I usually enjoy slow, reflective movies (like Train Dreams, Perfect Days). It can be a bit of a frustrating experience at times, even with the charming O’Connor on screen for most of it. What I do like is the careful attention to the 1970s set design that really takes you back to that era. The lively, brassy, percussive, jazzy soundtrack by Rob Mazurek is also enjoyable to listen to. Ultimately, I think Reichardt’s films are something you have to develop a taste for, and I don’t think I’ve quite gotten there yet. That said, I’m still glad I saw this and curious what she’ll do next.
This movie is currently streaming exclusively on MUBI
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I haven’t seen this yet but I am absolutely familiar with Kelly Reichardt’s work as I tend to prefer films with a slower pace than conventional films. This will likely work for me. Plus, I’m happy Josh O’Connor is getting some attention and love. I saw a skit he did on SNL as a sensitive male stripper. He’s so adorable.
I’ve never heard of this movie before, sounds interesting. I do love heist films, maybe I’ll give it watch when it’s available on other streaming services. I don’t have MUBI. Let’s hope Josh O’Connor have a good agent who will find him good scripts to star in down the road. If Spielberg’s Disclosure Day is big hit next summer, O’Connor might be the new “IT” actor in Hollywood.