From the outset, O’Connor embodies J.B. Mooney, a lackluster art thief who comically lacks the essential traits typically associated with a mastermind. His portrayal of this former art student turned family man highlights his mediocrity, devoid of cleverness or quick reflexes needed for a successful heist.

A Different Kind of Heist Film

Unlike your typical heist film that thrives on adrenaline-fueled escapades, “The Mastermind” avoids the spectacle, presenting a subdued narrative focused on J.B.’s slow unraveling following a poor decision. It’s a gradual descent that’s reminiscent of a slow-motion fall down a hill.

Reichardt’s deliberate pacing defines the film’s tone, crafting a vivid representation of life in 1970s Massachusetts. The era is encapsulated with meticulous attention to detail, portraying a time before modern surveillance systems transformed theft.

The Heist Begins

J.B.’s initial theft occurs at the fictional Framingham Museum where he pilfers a figurine while his family explores. This moment marks the beginning of his misguided plans.

At a family dinner, J.B.’s father questions his job struggles, illuminating the pressures he faces. J.B. claims an enticing project is on the horizon, planning to ask his mother for funding, which adds a twist of irony to the traditional family dinner scene portrayed with mundane 70s cuisine.

As the plot thickens, J.B. concocts a plan to steal four paintings by Arthur Dove, works he admired in school. Yet, the execution of his heist is anything but thrilling.

Execution of the Plan

On the day of the heist, J.B. faces unexpected challenges, from a closed school to the humorous sight of kids roaming a shopping center unsupervised. The actual crime unfolds in a surprisingly banal manner, devoid of the excitement usually showcased in heist films.

What follows is a series of mishaps that highlight J.B.’s naïveté. Without the expected thrilling chase scenes, the film relies on a more docu-style approach, amplifying the absurdity of the situation.

As the story progresses, it becomes evident that the narrative revolves around the consequences of J.B.’s folly, rather than the heist itself. He struggles with the aftermath of his actions, showcasing a lack of foresight about the stolen artwork’s worth and his plan’s sustainability.

The Crumbling Facade

As tensions escalate, J.B. finds himself isolated, rejected by family and friends. His ill-conceived strategy leads him into deeper trouble, and the slow degradation of his situation is portrayed with subtle poignancy.

The supporting cast, while well-chosen, feels underutilized, particularly Haim, whose impactful scene occurs through a phone call, revealing J.B.’s deepening regret.

Throughout, Reichardt interweaves elements of the social climate during the Vietnam War, though for J.B., these contexts seem to hold little significance as he spirals further into chaos.

The film concludes abruptly, yet in a manner that feels fitting for this narrative of a hapless art thief. “The Mastermind,” released by Mubi, has been rated R for language and runs for 110 minutes, earning three out of four stars.

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