The Mastermind Movie Review (SFF) –
Kelly Reichardt is a filmmaker who understands genre filmmaking so well, that her deconstructions of genre and tropes, presented in her very distinct, naturalistic voice, are never usually anything short of impressive. Reichardt can take the most simple seeming premises, find the genre right to frame the story, and intimately explore the characters who inhabit these worlds.
” a very intimate and fascinating character drama “
In the case of The Mastermind, Reichardt plays within the heist genre in 1970s Massachusetts, following J.B. Mooney (Josh O’Connor), a husband, father, and art-school dropout who is struggling to find his way through life – both financially and purposefully. Mooney’s solution to his problems? Plan the heist of four paintings from a local gallery. However, the seemingly simple heist proves otherwise, causing Mooney’s life to spiral in unexpected ways.
Unlike the stock-standard, Hollywood heist films (think Ocean’s Eleven), Reichardt brings an intense bout of realism to every aspect of the event. There’s nothing slick or stylised about the planning and execution of the robbery, despite the fact that there are moments in the story that play on the familiarity of this genre, whether it’s getting the crew together, or even the actual heist itself. Reichardt’s long takes of grainy, colourless Americana don’t make the heist feel “cool”, but rather reek of the desperation of Mooney.
The Mastermind is a very intimate and fascinating character drama, patiently wading through the murky waters of Mooney’s psyche in a tender breakdown of masculinity, especially during this era of America. As an audience, you get to really sit inside the mind of the troubled Mooney, who is brought to life by a brilliant performance from O’Connor, who has such a commanding authenticity on screen. His interactions with his family and crew slowly reveal that he is far more in over his head than he could ever anticipate, and the ramifications of that are startling, but he is also far too stubborn to change his way because of his innate desire to achieve greater things – even if those “greater things” involve criminal acts.
And it’s not without a little bit of biting comedy to aid this character and genre breakdown. The detestability of Mooney, and the cavalcade of traditionally masculine characters bumbling around, lends to some much needed levity against the more mundane backdrop of the setting, era, and premise. Even though Reichardt takes the exploration of the themes seriously and realistically, she is aware that there is the inevitable aspect of the comedy and irony of life that can trickle into these situations.
Much like her other films, The Mastermind is a slow-burn. At some points, a little too slow. Reichardt’s use of long, conversational takes brings a sense of realism to the story, and also an engaging visual language to the film, but the overall mundanity can occasionally prove a little tiresome for its simple subject matter.
The Mastermind is another solid entry into Kelly Reichardt’s filmography, but it’s also one where established fans of her style may get more out of it than those coming into his filmography fresh. Josh O’Connor gives an authentic and great performance in a film that interestingly takes a genre piece, and breaks it down in an engaging, but sometimes grating, fashion.
The Mastermind is playing at the Sydney Film Festival 2025
