Review of The Mastermind (2025) at the 61st Chicago International Film Festival

      The Mastermind, 2025.

      Written and Directed by Kelly Reichardt.

      Featuring Josh O’Connor, Alana Haim, John Magaro, Hope Davis, Bill Camp, Gaby Hoffmann, Amanda Plummer, Eli Gelb, Cole Doman, Javion Allen, Matthew Maher, Rhenzy Feliz, Juan Carlos Hernández, Jean Zarzour, D.J. Stroud, Ryan Homchick, Sterling Thompson, Jasper Thompson, Margot Anderson-Song, Katie Hubbard, Barry Mulholland, Alexis Nicole Neuenschwander, and Reighan Bean.

      SYNOPSIS:

      Set in a calm part of Massachusetts around 1970, an out-of-work carpenter turned amateur art thief schemes for his first major heist. When unexpected events unfold, his life begins to fall apart.

      As protests against the Vietnam War fill the streets and airwaves, family man JB Mooney (Josh O’Connor) distances himself, pursuing the dream of becoming an effective career criminal to support his wife Terri (Alana Haim) and their two young sons (played by Sterling and Jasper Thompson) in Kelly Reichardt’s humorously subversive exploration of failed criminal endeavors, The Mastermind.

      The prologue shows JB cleverly stealing a toy soldier from the museum and exiting without drawing attention, suggesting he could succeed. Yet, his recklessness is evident; he neglects thorough background checks on his crew, which could compromise their trustworthiness. He even forgets that his boys are off from school the day of his planned heist involving several paintings from the same museum.

      Unsurprisingly, while the heist starts off successfully, it soon devolves into chaos, leading the police to the Mooney residence. The heist sequence is one of the most entertaining scenes Kelly Reichardt has crafted, with Rob Mazurek’s upbeat score enhancing the film's energy, contrasting with her more typical slow, observational style. Nevertheless, this is not the core focus of the film, and that’s a positive aspect.

      Separated from his family and in hiding, JB longs to reunite with them, often reaching out home when possible. Naturally, Terri is unwilling to see him again and doesn't want him communicating with the boys. It's not merely JB’s lack of skill that is a problem; he is also irresponsible, with misplaced priorities. He assured his crew that everything would turn out fine, seemingly overestimating his abilities and failing to recognize that he is far from a mastermind. This allows Josh O’Connor to portray a quietly melancholic character, tinged with subtle narcissism. The darkly comedic conclusion reinforces this notion, intertwining the political backdrop with the story for a thematically satisfying ending.

      While The Mastermind is engaging as it follows JB in reconnecting with former friends and searching for a way out of his predicament, it remains distinctly a Kelly Reichardt film. It dwells on mundane tasks for extended periods, offering little to the development of its characters. At 110 minutes, it could have trimmed down to around 90 without sacrificing essential content. Luckily, Josh O’Connor’s performance helps to maintain interest. Though not a masterpiece, it offers a light comedic take on the mishaps of a self-centered failing thief.

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

      Robert Kojder