Josh O’Connor in the film “The Mastermind”.
(Cannes Film Festival)
Leave it to Kelly Reichardt, who transformed Michelle Williams into a bubbling sculptor with Frenemy problems in “Show Up”, to make the robbed and most self-deprecating robbery film imaginable. As such, she invented a whole new genre. The year is 1970, but do not expect Scorsesian to be here. On the contrary, he is roughly a half-intelligent art thief (Josh O’Connor, leaning in losing vibrations) who, after having torn from the canvases of a less known modernist from a Massachusetts museum in sub-employment, suffers seriously while his plan takes place. Reichardt, herself the daughter of the police, is more interested in the consequences: conversations of hypnotically clumsy cooking with disappointed family members who will not lend him money and prefer that he is clearing. (The exquisite casting perfect period includes Alana Haim, Bill Camp, Hope Davis and John Magaro.) The types of Danny Ocean do not need to apply, but if you hear jazz skitter music like the soundtrack of despair, your new favorite comedy is here. – Jr
