The Wasteland Reviewer

The Mastermind (2025) Written Review

What would a heist film by writer/director Kelly Reichardt look like? Up to this point, Reichardt is known for quaint human dramas from varying periods that put the focus on the characters and life over action and big plots. They are generally subtle and reflective affairs that are for more those of the patient and arthouse film crowd. A heist film is full of plot, twists, and turns. You get all the elements on your checklist and get a fun and engaging heist flick. But The Mastermind finds Reichardt tackling this beloved subgenre in her own way. Josh O’Connor is the titular “mastermind” of an art heist that certainly goes awry and takes O’Connor’s James Blaine Mooney on a reflective and dangerous journey. 

Does Reichardt still deliver her trademark vibes and approach with this new heist film? The atmosphere of The Mastermind is refined, tender, and raw. You can feel the texture and life in every frame thanks to Reichardt and Christopher Blauvelt’s efforts with the camera. This has an old school vibe which feels like it is ripped right out of the 70s. The pacing is quite methodical, which might be a bit of a chore for the audience. There are a few stretches in the film where the energy and propulsive progress of the film fall too much and might lose most of the audience. But the slow pacing gives the space for Reichardt to craft and build suspense and tension. This stands out the most during the heist sequence as well as a climactic big crowd situation. Reichardt delivers a film that feels pregnant with thought and emotion which sets this apart from other heist films (that generally go for a “cooler” tone and feel). The music is one of the film’s biggest assets from composer Rob Mazurek. The jazz-focused score injects plenty of energy and tension into the film and makes it have a specific and strong energy. 

Does Reichardt’s approach offer up something new and fresh for this heist film? You certainly have the elements of the film that feel familiar and essential for any heist film. This sets up much of the first act as James gets his team together, keeps his lying going with his family, and plans for his life after this big heist. Reichardt’s story has enough tension and suspense due to some well-placed roadblocks that arrive in time to disrupt the central heist. What sets this film apart from most heist films and reinforces Reichardt’s sensibilities is the journey in the second half of the film. We experience more of the aftermath in this film than building up and executing the heist. James is forced to confront the effects of his actions on his wife (Alana Haim) and their children. He must confront the investigations on his tail (in no small part due to the actions of his unreliable partners). We see the effects on his other relationships and how his crime breeds isolation. The final sequence of the film delivers an unexpected yet poignant perspective on our choices and how we navigate life. There is a powerful message about our struggle to find happiness and satisfaction within the society we live in. Some might not appreciate the outcome (which will probably be divisive) but the end hits in a specific and bold way.

How does this cast bring Reichardt’s vision to life? O’Connor turns out to be an excellent leading man who understands the tone and vibe of Reichardt’s vision. His natural charisma is essential to his character, someone who never has a great idea but still captures the trust of so many. O’Connor does a great job handling the descent of James. He loses that trust he takes for granted and shows that vulnerability earnestly and with authenticity. There are other talented stars who fill out the supporting cast as well. Haim is not given a lot to work with but does show the rising frustrations with her untrustworthy husband. Bill Camp shows up for a few strong moments as James’ father, but Hope Davis really stands out as James’ mother with a strength and attitude. There are a few other surprising, limited roles from Amanda Plummer, Gaby Hoffman, and John Magaro who find the space to leave lasting impressions on the film and the audience. 

Does Reichardt’s diversion into new genres capture the quality of her previous work? The Mastermind is not quite on the same level as others, but it is a fresh and engrossing take on this beloved franchise. The heist elements are there but there is a richer aftermath that gives the film needed depth. O’Connor is an excellent lead performer who does wonders to make the most of this story. A little slow and plodding for most audiences, The Mastermind still has a lot to appreciate.