Caught Stealing - Darren Aronofsky pic starring Austin Butler

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After strong start to 2024 with Masters of the Air and Dune Part 2, Oscar-nominee Austin Butler is looking to build on that success and is teaming up with another Oscar-nominated director. Sources tell Deadline Butler is set to star in Academy Award nominee Darren Aronofsky’s (The Whale, Black Swan) crime thriller Caught Stealing for Sony Pictures. The studio recently landed the package which is based on the book by Charlie Huston. The script will be written by Huston with Protozoa producing.

“I am excited to be teaming up with my old friends at Sony Pictures to bring Charlie’s adrenaline-soaked roller coaster ride to life. I can’t wait to start working with Austin and my family of NYC filmmakers,” said Aronofsky.

Written by and based on the books by Huston, Caught Stealing follows Hank Thompson, a burned-out former baseball player, as he’s unwittingly plunged into a wild fight for survival in the downtown criminal underworld of ‘90s NYC.

“Darren is one of the most brilliant audiovisual storytellers in the world, and adapting these wonderful books by Charlie Huston for Austin to star was too exciting an opportunity to not be a part of,” said Sanford Panitch, President of Sony Pictures’ Motion Picture Group.

The project keeps ties strong not only between Butler and the studio, who first broke out in Once Upon A Time…In Hollywood and also has Don Winslow’s City On Fire in development, but builds on the relationship between Sony Production President Sanford Panitch and Aronofsky, who have had a longstanding relationship for many years.

After his Oscar-nominated star-making performance as the King of Rock N Roll in 2022’s Elvis, Butler stormed back in a big way with the Band of Brothers sequel, Masters of Air, bowing in January to huge numbers. He followed that up with his scene-stealing role as Dune Part 2 supervillain Feyd Ratha. That film has been one of the biggest films of 2024 so far bringing nearly $600 million at the global box-office so far.

After a month and a half of press for both projects, Butler had been considering several options and per usual was drawn to the opportunity to work with another A-list director after working with Baz Luhrman and Denis Vellinuve. Next up for Butler is the Focus Features pic Bike Riders.

Best known for his dark dramas like Requiem For a Dream and Black Swan, Aronofsky has earned a reputation for getting the most out of his actors with Mickey Rourke getting nominated for his perf in The Wrestler and Natalie Portman and most recently Brendan Fraser winning Oscars for their perfs in Black Swan and The Whale.



Should be worthwhile. I used to adore Aronofsky. Now I feel his work is quite uneven, but there are some gems — I really enjoyed The Whale.

Initially skimmed past the thread and thought, ‘Wtf, Aronofsky caught stealing?! What is the world coming to…’



Aronofsky is dead to me since The Whale.



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Crashed to earth when I found out it wasn’t his Jane’s Addiction movie.



Was it the whole ‘dehumanising overweight people’ angle (I recall that debate), or did you just not like it?

I don't think it necessarily dehumanized overweight people, even though I could definitely understand the argument, and it would probably be an element of mine. It simply dehumanized people, full stop, by treating them as just little pawns in Aronofsky's script, deployed to make us feel very specific things I was skeptical towards feeling.


The biggest problem is I felt Fraser's character was a cloying, ridiculous, barely human caricature of a person that we were expected to empathize with, even as he was being portrayed as a pillsbury doughboy cartoon character. A big fat angel suffering for all of our sins by shovelling cake in his face whenever he gets sad. It was embarrassing. It was like a bad off broadway play (which I bet it probably was at some point)



And I also felt the script was horrendous. It was all so painfully deliberate and over written. All of the characters weren't so much humans as the were just a bunch of animated bodies, each one fulfilling their part in the stupid arc of the story and not seeing like they had any real existence when they weren't in frame. Convenient narrative devices, always storming from his house in a huff the moment they weren't needed anymore, only to have another dumb character come in and push the narrative along a little further when they were needed. It was like a bad soap opera or sitcom or some other thing you aren't supposed to take seriously, all the while having Fraser in a fat suit, covered in chicken grease, making doe eyes at the camera, and expecting us to have a human emotion towards that.


Now, let's make it clear, I think little of this is Fraser's fault. This is all on that script, and Aronofsky's direction. Somehow, beyond what a tragedy the whole thing plays as, Fraser actually found a way to milk some genuine emotion from me in those final minutes. It's all very good Oscar reel footage and is commendable that it hit me a little bit as much as the rest of the movie was impossible to take seriously.


I just really don't think Aronofsky has any talent for creating real characters. He's better with allegory's (mother) and grotesque exagerrations of human depravity (requiem). This one was one of the worst things I've seen by a director I normally like, or can at least respect.


Just so so so so stupid.



Production photo




Really liking Matt Smith's look!