The Mastermind review: Josh O’Connor leads art-theft film that will “stay with you in its aftermath”

In the 1970s, the story follows unemployed carpenter James O’Connor residing in Framingham, Massachusetts. He is married to Terri (Alana Haim) and is a father to their sons, Tommy and Carl. Faced with financial struggles, he initially seeks help from his mother. She advises him discreetly, as his Circuit County Judge father shouldn’t find out. It’s evident that James, who left art school without completing it, hasn’t quite achieved the life he dreamed of.

At the start of the movie, we find him surveying Framingham’s art museum, secretly swiping a tiny sculpture from a display case as his children play nearby. However, the main scheme he devises involves the theft of four Arthur Dove paintings and some accomplices. The robbery, surprisingly both amusing and startling, unfolds thus: Two members of the gang, masked with stockings to conceal their identities, manage to slip past a sleepy security guard with the stolen artwork.

Trouble arises when Ronnie (Javion Allen) brandishes a gun towards a young girl they meet. Fortunately, no shots are fired, but the situation escalates as an art heist becomes lethal. Matters worsen when James’ attempts to sell the paintings fail miserably, and Gibson is apprehended for a bank robbery, implicating James in the museum theft. With few options left, James is forced to flee, leaving Terri and the children at his parents’ home.

Reichardt’s film is marked by a rhythmic blend of double-bass and percussion that gives it a jazzy feel, and it’s definitely not a thriller. Instead, it delves into the complex character of a man who seems to consistently make mistakes, possibly due to an inherent flaw in his nature. He pays visits to his friends (portrayed by Gaby Hoffman and John Magaro), who are shocked by his actions, before attempting to flee to Toronto, even considering forging his passport. As the story progresses, his desperation intensifies.

In a typical Reichardt film, not much appears to unfold externally. For instance, there’s an extended scene where James conceals the paintings in a barn on a farm, meticulously moving them up a ladder and into the loft, followed by hoisting a wooden storage box up there. This sequence feels endless, and it seems Reichardt intentionally prolongs it. Similarly, most of the tension occurs off-camera, such as the argument between James and Terri that results in James’ cut eye. We never witness his father’s response to his son’s theft either.

Set against the tumultuous backdrop of the Vietnam War period (“quite a time, isn’t it?” one character remarks), The Mastermind is a film that lingers in your mind following its conclusion, particularly due to a profound, morally sharp finale. However, whether this will be sufficient for some viewers remains to be seen. Those anticipating a narrative akin to Michael Mann’s works may find themselves let down.

In a somewhat similar fashion to his role in Alice Rohrwacher’s La Chimera, O’Connor takes on the part of a man involved in antiquities theft. However, it’s unfortunate that Haim’s character lacks depth in this film. Known for her captivating performances in Paul Thomas Anderson’s Licorice Pizza, Haim is given limited opportunities to shine here, though she admirably handles a rather slim role.

Ultimately, The Mastermind lives up to its creator’s reputation, offering a subtle exploration of human flaws.