The Mastermind review: “Don’t let anyone con you into skipping this one”

The Mastermind kicks off with a crime unfolding right before our eyes. In 1970s Massachusetts, James Mooney (Josh O’Connor) is scouting his local art gallery, meticulously assessing the objects he covets while keeping a watchful eye on a sleeping guard nearby. 

A luxurious jazz soundtrack elevates the atmosphere as James effortlessly pockets a figurine, all while surrounded by unsuspecting gallery visitors—one of whom happens to be his own wife and kids. 

With his family in tow and still enjoying the freedom of the moment, James pushes forward with his plan to steal four paintings by Arthur Dove, a Modernist American artist. He ropes in two tough characters and a getaway driver, but an unforeseen hiccup forces James to remain in the car while his accomplices attempt the heist inside.  

The robbery takes a turn when the duo gets caught—not by security, but by a young girl who immediately identifies the dubious nylon stockings they’re using as disguises. A series of complications threaten to derail the heist entirely, yet somehow, they manage to escape. And that’s just the prelude.

Exciting, right? Surprisingly, it’s not—yet that’s precisely the essence of the film. 

While the heist itself is shot meticulously by director Kelly Reichardt, she is far more intrigued by what follows. In this way, The Mastermind is a heist movie that feels unorthodox. If anything, it can be considered an “anti-heist” film, as noted brilliantly by Variety, deconstructing a genre Reichardt has crafted her art around in films like Meek’s Cutoff and Night Moves.

It’s almost comical how incompetent James appears, not merely during the planning stages, but as his life begins to crumble in the aftermath of the heist. It is during these moments that the film completely abandons typical genre rhythms, morphing into a character study of someone who is anything but competent. 

With its muted earthy tones, Reichardt’s latest unfolds at a leisurely pace, mimicking the slow transition of the autumn leaves in James’s suburban neighborhood—one he ultimately must abandon. If you’re not wrapped up in a cozy sweater while watching, you might just be doing it wrong.

Every aspect of The Mastermind is marked by an unmistakable sense of normal, and Reichardt takes pleasure in showcasing that. From the vintage car’s latch used to hide the stolen paintings to the wrinkled sweater-and-underwear attire that James dons as he bids farewell to his family, this film feels akin to a long-lost 70s gem reminiscent of The Holdovers released earlier this year. 

There’s a humorous aspect in the mundane as well, especially when James struggles to stow the artwork in a secluded hayloft with a pig snorting nearby. He might seem pitiable, but he has orchestrated much of his predicament, often at the cost of his own family. “Everything I’ve done is for you and the kids,” James asserts to his wife, before adding, “And for myself.”

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Despite his flaws, there’s a certain charm to James, which might explain how he managed to rally support around him for as long as he has. Josh O’Connor embodies that limited yet relatable allure, even as his grand ambitions seem patently out of reach, bolstered by an unwarranted amount of self-confidence. It’s visibly portrayed through his hopeful eyes that seek assistance from those around him, and in the sardonic smile that creeps up when he believes he’s actually getting away with it.  

Alana Haim plays Terri, James’s wife, whose stoicism presents a counterbalance to his foolishness, speaking volumes through her expressions alone (especially given the script doesn’t provide her with enough depth). Noteworthy also is James’s old friend Fred (John Magaro from First Cow) who is excited to hear about James’s escapades, and his wife Maude (Gaby Hoffmann) who is anything but pleased by James’s sudden visit.

As James journeys through a tapestry of increasingly dismal stops in the Midwest, the broader implications of life in Nixon’s America start to infiltrate the narrative until truth becomes undeniable. This builds up to a brutally ironic yet fitting conclusion arriving just as the script seems to drag slightly, ultimately culminating in a darkly rewarding finish. 

However, the true weight of the narrative is likely to resonate with you only after some contemplation. Much like Reichardt’s other works, the intimate structure of her first solo screenwriting credit requires a bit of time to sink in, even if who the real mastermind is becomes apparent early on.   

Is The Mastermind Worth Watching?

If you’re anticipating a heist packed with the excitement and grandeur reminiscent of Ocean’s 11, then The Mastermind probably isn’t for you. Unless, of course, you’re keen on a fresh take on the genre—one that strips away the Hollywood sheen for a more personal experience.

Regardless, don’t let anyone trick you into missing this one, particularly on the big screen. Grab a knitted cardigan, indulge in a pumpkin spice latte, and settle into a comfy chair for an autumnal film experience featuring one of Josh O’Connor’s best performances to date. 

The Mastermind is currently showing at the London Film Festival and hits theaters in the US on October 17, 2025, followed by a UK release on October 24, 2025. American readers can purchase tickets from AMC Theatres, Fandango, and Atom Tickets. UK audiences can find tickets through Picturehouse and Curzon.

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