2025 London Film Festival Critique – The Strategist

      The Mastermind, 2025.

      Directed by Kelly Reichardt.

      Featuring Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, and Bill Camp.

      SYNOPSIS:

      An unemployed carpenter who becomes an amateur art thief sets out to execute his first significant heist, but when everything goes awry, his life begins to fall apart.

      Kelly Reichardt is a challenging director to categorize; she has established a reputation for her unique and diverse arthouse films, collaborating with a talented group of actors such as Kristen Stewart, Lily Gladstone, and frequently with Michelle Williams. Movies like Night Moves and First Cow defy the norms of traditional thrillers and westerns, and her latest offering, The Mastermind, while appearing to be an art heist film, is quite different from Ocean’s Eleven or The Thomas Crown Affair.

      In the film, Josh O’Connor plays James Blaine Mooney, who comes from a close family, being the son of a judge and happily married to Alana Haim's character, Terri. In his free time, he has formed a small crew to assist in stealing various art memorabilia, both big and small. Terri remains unaware of his secret life. At first glance, this may seem like a conventional art heist narrative, but it quickly becomes clear that Reichardt is subverting our expectations. Blaine is no Danny Ocean; he lacks the foresight to keep himself out of legal trouble or to protect his family.

      Audiences may expect one thing but will find something far more rewarding. Set in the 1970s, Reichardt beautifully recreates the New Hollywood era with its grainy visuals, accurate costumes, and a stunning jazz score by Rob Mazurek, who impressively delivers his first film score. It is indeed a perfect match, with Reichardt expressing her admiration for his work.

      O’Connor, much like his performance in La Chimera, is utterly captivating; many scenes in the film would struggle without his portrayal. He subtly commands the screen as he strategizes how to stay a step ahead after a failed heist. James becomes increasingly paranoid, moving from one acquaintance to another in search of assistance. Reichardt skillfully contrasts this with themes of the Vietnam War and civil unrest. The conclusion is undeniably memorable and may change views of the film.

      While it may not provide thrills in the conventional sense, The Mastermind holds an undeniable allure, and Reichardt’s attention to detail is a pleasure to witness. Josh O’Connor fits seamlessly into her group of collaborators, and one can only hope this is not the last film they make together. Reichardt cleverly subverts typical narrative expectations, adding yet another impressive title to her filmography. It serves as a nostalgic nod to the paranoid thrillers of the 1970s while distinctly retaining Reichardt's unique style.

      Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★

      Chris Connor