Kelly Reichardt's Anti-Heist Comedy Subverts Crime Genre Expectations

Independent filmmaker Kelly Reichardt has built her reputation on character-focused narratives that prioritize internal exploration over explosive action sequences. Her newest offering, a deliberately paced comedy-drama called The Mastermind, continues this tradition while masquerading as a crime caper. Don't expect Ocean's Eleven-style sophistication here – the sarcastic title telegraphs exactly what kind of criminal genius we're dealing with.

A Bumbling Criminal in Turbulent Times

The story centers on James Mooney, brought to life by Josh O'Connor, a privileged man whose upbringing instilled unearned confidence and misplaced entitlement. His in-laws view him as a disappointment, while his patient wife (Alana Haim) grows increasingly frustrated with his persistent joblessness. Rather than addressing his problems sensibly, James hatches an audacious plan to rob a local art museum in broad daylight with a crew of equally inept accomplices.

Set against the backdrop of early 1970s America, the film captures an era of social and political turbulence. Reichardt deliberately chose this period, explaining in interviews that it was "a volatile time" with the Weather Underground active, the Vietnam War expanding into Cambodia, and the Kent State shootings fresh in public memory. This historical chaos serves as a perfect metaphor for James's personal disarray, though he remains largely oblivious to the world's upheaval around him.

From Comedy to Consequence

The museum heist unfolds as pure farce – the planning is riddled with obvious flaws, and the execution borders on slapstick comedy. Success comes only because the museum's security proves even more incompetent than the thieves themselves. However, once the theft concludes, the tone shifts dramatically from lighthearted to serious as James finds himself a fugitive navigating an unfamiliar underground world.

Reichardt, who also edited the film, worked alongside cinematographer Christopher Blauvet to create a visual style that mirrors 1970s filmmaking. The color palette shifts subtly throughout, moving from cartoonish brightness during the planning stages to oppressive bleakness as James's situation deteriorates. These visual cues, while barely noticeable, effectively establish each scene's emotional temperature.

Perfect Casting and Social Commentary

O'Connor proves ideal for the lead role, embodying someone accustomed to coasting on charm and others' support. He skillfully portrays James's ability to manipulate people into helping him while revealing the character's less appealing self-centered nature. As circumstances strip away James's advantages, O'Connor shows us what remains when privilege and confidence evaporate.

The fugitive's journey through different levels of American society exposes him to political movements and ways of thinking completely foreign to his sheltered experience. Secondary characters represent alternative lifestyles and philosophies that challenge James's narrow worldview, creating a unique personal drama despite the protagonist's continued self-absorption. The final act delivers a surprising conclusion where James becomes inadvertently swept up in the era's revolutionary spirit, bringing his misadventure to an ironically fitting end.