Written by: Kelly Reichardt
Starring: Josh O’Connor, Alana Haim, Hope Davis, John Magaro, Gaby Hoffmann, Bill Camp
Rating: [3/5]
Genres typically carry a distinct style that defines them, such as heist films, where quick editing and fun reveals usually get utilized to display the excitement of everything transpiring. These elements ultimately define the best heist films. Knowing this, having Kelly Reichardt write and direct one feels like quite the mismatch of director and genre. At the very least, it piques my interest in what a Reichardt heist film would look like, which we get here in The Mastermind.
Failing to keep regular employment as a carpenter, J.B. (Josh O’Connor) concocts the idea of stealing four paintings from a local museum in order to financially support his family. To do this he enlists the help of some friends and while their heist ends with possession of the paintings, the following steps do not go to plan.
Combining a director known for methodical and slow-paced films with a genre typically known for fleeting and light entertainment gives us The Mastermind, a film that does not succeed in any of those arenas. It fails to excite and it does not really delve very deep into this character, J.B., but with all that said, Reichardt knows how to make a visually pleasing film. Despite the criticisms I have for it, there’s still something to it that makes me appreciate the artistry on display here on various levels. Through this review, I hope to break down exactly why.
Critiquing this film does not occur in a straightforward manner, given that this feature very deliberately seeks to downplay its very genre. It makes sense, given Reichardt is no genre filmmaker, not in the slightest, but this heist film contains one of the least interesting heists I have ever seen displayed in a movie. Not much reconnaissance needed, no robust security required to bypass, nor was the art itself all that valuable. This all leads me to believe the whole heist element of this film and the title being some grand joke the director seeks to play on audiences seeking out a specific type of film. It makes sense, given it does not take a mastermind to map out this heist. Everything I have laid out here gets my buy in on the vision, but then the rest of the film happens, which disappoints.
Covering J.B.’s journey following the heist towards the conclusion displays the tendencies of the director the most, but I had trouble fully engaging on this path. From the efforts of avoiding the police and still attempting to maintain connection with his family, the second half of the film felt lacking. While it continues this story through to its natural conclusion, which contains some ironic humor, the way it moves at such a languish pace did it no favors. A strange realization because we know what a Reichardt film looks and feels like but matching the first and second halves create this strange disconnect that never really comes together as a whole.
However, where this film truly succeeds comes in the atmosphere and visual style utilized to bring us into the 1970s. Reichardt and Christopher Blauvelt opt to display this film with this grainy and very warm aesthetic. Matching this with the jazzy score utilized adds to this very calming feel the film brings throughout. An odd thing to say when speaking on a heist film, but everything about the way the film looks carries this cohesion that ultimately creates the desired effect of enmeshing us into this environment. It exemplifies why along with Josh O’Connor’s performance I remain ever so slightly positive on the film overall.
While one of her best looking films, it’s strange to say The Mastermind sits towards the bottom of Kelly Reichardt’s filmography in my estimation. Ultimately, the lack of narrative heft to match the visual aesthetic of the film just does not measure up to her other films delving much more deeply into their characters. Even with Josh O’Connor putting in some decent work, it fails to measure to the best of what this filmmaker can deliver when on her best day. However, with all that said, this feature still has plenty to appreciate that allows me to find moments of enjoyment within it.
Films with Josh 
