Darren Aronofsky's latest crime drama, “Caught Stealing,” positions Austin Butler at its core, serving as a critical test of his movie star status. The film requires Butler to carry the narrative with an easy, laid-back charm, a task he reportedly accomplishes with an undeniable presence. Set to hit theaters on August 29 (or already released as of recent reports), the movie presents Butler in his most relatable role to date, despite the significant violence his character endures. This project marks a dramatic shift for Aronofsky, known for his intensely subjective character portraits in films like “The Wrestler” and “The Whale.”

Butler stars as Hank Thompson, a New York bartender and former baseball prospect whose career was cut short by a drunk-driving accident ten years prior, an event that still haunts him. Hank, a California transplant, stands out from typical New Yorkers by genuinely seeing and interacting with those around him, rather than brushing past them. His polite demeanor and willingness to help, whether offering money to a wino or cat-sitting for his drug-peddling English punk neighbor, Russ (Matt Smith), prove to be either his fatal flaw or his saving grace. When Russ mysteriously disappears, Hank finds himself embroiled in a dangerous criminal underworld, as various unsavory characters descend upon Russ's apartment searching for a mysterious key. This escalates quickly, with Hank being severely beaten, losing a kidney, and ultimately realizing his only option is to cooperate or face death.

“Caught Stealing” boasts a memorable ensemble cast, reflecting the film's acute interest in its diverse characters. The lineup includes Zoë Kravitz as Hank's feisty paramedic girlfriend, Regina King as the poker-faced police Detective Elise Roman, and Griffin Dunne as Hank's seen-better-days biker boss. The criminal element is well-represented by Russian mobsters (Nikita Kukushkin and Yuri Kolokolnikov), exceptionally violent Orthodox brothers (Liev Schreiber and Vincent D’Onofrio), and a wild-card Puerto Rican gangster (an eccentric cameo from Bad Bunny). Aronofsky, while less flashy than directors like Guy Ritchie, constructs an unpredictable sequence of encounters that surprises and amuses, drawing comparisons to films like “Lock, Stock and Two Smoking Barrels.” The director and his longtime cinematographer, Matthew Libatique, channel Martin Scorsese’s “After Hours,” creating a New York atmosphere that is a mix of bustle and grit.

Regina King's portrayal of Detective Elise Roman is particularly noteworthy. Drawing on her 40-year career and extensive research, including interviewing NYPD veteran Jackie Brown, King meticulously crafted Elise's backstory and hardened demeanor. She incorporated real-life experiences of sexism in the police force, particularly prevalent around the Y2K era when the film is set. King's preparation shines in the interrogation scenes with Hank, where Elise employs psychological tactics, alternating between a grounded approach and an ice-cold intensity. Both King and Butler, having experienced the grief of losing their mothers, connected deeply with the film's surprisingly sincere heart, which sees Hank striving to protect his mother and Russ's cat, Bud. This shared understanding allowed for a sensitive and nuanced dynamic between their characters on set.

Aronofsky himself highlights a favorite shot in the film: a chase sequence through Flushing Meadows Corona Park in Queens, featuring the iconic Unisphere. A drone shot impressively flies directly through the sphere, an unprecedented cinematic feat that Aronofsky admits might not have been fully permitted. This sequence, made possible with cooperation from the New York City Parks Department and skilled drone operator Dexter Kennedy, was originally planned for FDR Drive but moved due to logistical and aesthetic concerns. The film eschewed a second unit crew, with Aronofsky and Libatique personally capturing the action, ensuring performances remained authentic. Austin Butler performed his own stunts, including hanging off a fire escape and driving a minivan, allowing for seamless integration of action and emotion.

“Caught Stealing” opened with a muted box office performance over the Labor Day holiday weekend. Sony Pictures reported an opening day of $3.2 million across Friday and previews from 3,578 locations, projecting a $9.5 million debut over the four-day frame. This figure fell short of an eight-digit target for the R-rated original, which carried a $40 million production budget. Despite generally positive reviews, audiences gave it a “B” grade on CinemaScore. The film debuted behind other releases, including the fourth weekend of “Weapons” and Universal’s re-release of “Jaws,” which commemorated its 50th anniversary with a strong showing. The film’s deep dive into New York City’s neighborhoods and distinct 1990s aesthetic, with locations dictating the film's look and texture, underscored its strong sense of place, a quality shared with Spike Lee’s “Highest 2 Lowest.”