Edison Drake Hank (Austin Butler) is an avid baseball fan, who splits his days between a job at the local bar in New York, and Yvonne (Zoë Kravitz). When his neighbour Russ (Matt Smith) is forced to depart to London, Hank is tasked with the care of Russ’ cat. The role comes with some unfortunate side effects though as the various criminal elements of New York suddenly come knocking at his door. Hank must figure out what it is that they want, what Russ has done, and most importantly, what to do about this damn cat?
Darren Aronofsky’s latest film is a riotously morbid crime thriller that demonstrates the best of the vast talent pool it possesses. With a cast starring Austin Butler, Zoe Kravitz and Regina King, it is little wonder that the performances are superb, but it is with the arrival of Matt Smith as the punk-loving, mohawk-toting Russ, that the film really hits its stride.
Adapted by Charlie Huston, the author of the original novel, the title is a cheeky reference to the baseball term, where runners are tagged out by fielders whilst attempting to ‘steal’ extra runs. The baseball theme is apparent in the film, part of the third act even taking place in the stadium of the New York Mets, and the idea of taking every advantage you can get is one that certainly matches the overall tone.
Aronofsky has had a decorated career in Hollywood. Critical successes such as Black Swan and The Fountain have brought him a dedicated following of fans, but this project is a departure from his usual surreal style and feels heavily reminiscent of British, turn of the century gangster flicks such as Lock Stock and Snatch. It is perhaps no wonder then, that the film finds its footing with the delightfully British Matt Smith, whose appearance seemed to inform the audience exactly what kind of film they are watching. After becoming immersed in a true to life, 90s New York setting, the auditory bombardment of Matt Smith’s accent brings much needed jazz into a film that was beginning to drag, and the story only goes up from there. Praise should also be reserved for the arrival of Vincent D’Onofrio and Liev Schreiber’s ruthlessly ominous Hasidic brothers, whose eerie calm is deliciously juxtaposed to their violent nature. Of the rogue’s gallery that Hank must face, their presence is far and away the most disconcerting.
Austin Butler’s star power was once again on display for all to see. Despite criticism that his performances since Elvis have been repetitive, Butler presents a tremendously real character, thrust into unfamiliar circumstances. After playing such personalities as Elvis, and Feyd-Rautha in Dune 2, his performance as the less assuming Hank was a marvellous display of range showing exactly why he has become one of Hollywood’s new generation of golden boys. The effortless charisma he brings to the screen resembles that of Brad Pitt and there is strong evidence to suggest that Butler may surpass him as one of cinema’s best.
Although there are moments of tonal dissonance, where the film becomes uncertain whether it’s trying to shock you or amuse you, the overall balance of the plot is treaded well by Aronofsky. The humour is dark, the language is quick, and the action certainly hits the spot. It is a refreshingly satisfying thriller that this viewer can only recommend.
