Review: The Mastermind

Image courtesy of Mubi.

Kelly Reichardt brings her trademark brand of minimalism to “The Mastermind,” a film set in the early 1970s that adopts that era’s stylings and follows the story of a minor criminal who holds himself in great regard, despite his complete disregard for others and the knack for screwing up.

Set in Framingham, Mass., the story opens observing James Blaine Mooney (Josh O’Connor) with his wife, Terri (Alana Haim), and children looking at objects in a museum. He appears to be scoping the museum’s security and the art on its walls and, before leaving, surreptitiously steals a small figurine from an exhibit.

Shortly thereafter, he plots with a few bumbling friends to steal four paintings by Arthur Dove, considered one of America’s first abstract painters, and take them to a fence with whom he regularly works.

From the start, his plot falters. One of his co-conspirators drops out at the last minute, despite finding a getaway car for James and his other friends to use. During the robbery, a few small girls witness the theft, and are briefly held against their will. On the way out, a struggle ensues with a cop. After the police quickly figure out whom they believe to be involved, the criminals quickly rat each other out.

We learn that James’ father (Bill Camp) is a judge and I wondered whether his clumsy forays into crime are a means of rebellion. His mother (Hope Davis), on the other hand, continually folds by loaning him money that she says she wants him to pay back, but must know that he won’t.

After a visit by the police, James goes on the lam and his plans for remaining undetected are just as poorly plotted. First, he stays with a couple – Fred (John Magaro) and Maude (Gaby Hoffman) – whom he believes will allow him to crash there for a while. The problem is that while the former idolizes him, the latter observes him with a wary eye from the moment he walks in the door. His next stop is even less successful.

Reichardt’s films are often observational dramas that could be described as low key – in other words, understated works in which body language often tells us more than the characters’ words. Her best films – “Poor Cow,” “Wendy and Lucy,” and “Night Moves” – all incorporate this type of vibe, while being wildly different in terms of content.

While “The Mastermind” doesn’t rank among my favorite Reichardt films, it’s still a good one and the type of film that grows on you once you settle into its rhythm. There are few big moments here and why Reichardt chooses to incorporate news coverage of the Vietnam War droning in the background is left up to the viewer; personally, I think the connection is that much like James’ heist, the war was a mistake made with little thought of the consequences.

The film ends on a sardonic note in which James’ careless recklessness takes a significant step forward and he is swept up in a moment that relates to the war in a humorous manner. Much of what makes “The Mastermind” work is O’Connor’s understated performance and its 1970s-style visuals and tone. It’s the type of movie that grows on you.