305 S. Campbell, Suite 101
Springfield, MO 65806
(417) 429-0800
info@moxiecinema.com
In 1970, failed architect James Blaine Mooney and cohorts wander into a museum in broad daylight and steal four paintings. When holding onto the art proves more difficult than stealing them, Mooney is relegated to a life on the run. (R, 110 min.)
(TBD)
Celebrated filmmaker Kelly Reichardt (First Cow, Showing Up) directs an unforgettable Josh O’Connor in THE MASTERMIND, her latest Cannes triumph.
In a sedate Massachusetts suburb circa 1970, unemployed family man and amateur art thief J.B Mooney sets out on his first heist. With the museum cased and accomplices recruited, he has an airtight plan. Or so he thinks.
A brilliant look at the folly of man, THE MASTERMIND also features Alana Haim, Gaby Hoffmann, John Magaro, Hope Davis and Bill Camp. Rich in textured detail, this sly depiction of an era subverts long-held illusions and confronts disillusionment. [MUBI]
Starring: Josh O’Connor, Alana Haim
Director: Kelly Reichardt
Genre: Drama
"A dazzling little caper enlivened by the spirit of the ’70s cinema."
— Tomris Laffly, Elle
"The Mastermind uses the trappings of a heist film to explore the isolation of staying neutral during a time of cultural and political unrest."
— Gregory Nussen, Screen Rant
"Kelly Reichardt’s heist movie The Mastermind is crackingly, urgently alive, an assured and magnificent addition to an already storied body of work."
— Chase Hutchinson, IGN Movies
"Like so much of Reichardt’s output, The Mastermind feels modest when you’re watching it and downright brilliant once it’s had some time to settle in your mind."
— Alison Willmore, New York Magazine (Vulture)
"The Mastermind begins as a distinct take on the heist picture, and evolves into an exploration of a collective mentality from the past that makes its way into the present."
— Hector A. Gonzalez, InSession Film
"The Mastermind sees Reinhardt working with a bigger budget and a larger scale, but she never loses her languorous, absorbing sensibilities as a filmmaker. She’s never been better."
— Lana Murray, The Playlist
"Very possibly her most accessible and enjoyable film to date, still it remains an unmistakably Reichardtian investigation into the fabric of ordinariness and what happens when it frays."
— Jessica Kiang, Variety
"From its gorgeous, sylvan landscapes and autumnal color palette to the patient, observational tone, it suggests what robbing art in the early part of the 1970s might have truly felt like."
— Rory O'Connor, The Film Stage
"Kelly Reichardt's Cannes-closer is a portrait of a power-keg period of history glimpsed from the periphery, and a wry, withering film about living without integrity in an era that demands it."
— Farah Cheded, Film Daze
"Kelly Reichardt’s The Mastermind is masterly in the way it creates characters with their rhythms and impulses, building on them with one surprise after another, till you have no idea where things are headed."
— Shubhra Gupta, The Indian Express
"Not only is The Mastermind set in 1970, but the film very much feels like a product of that era, reflecting the unconventional narratives of New Hollywood that were populated by offbeat antiheroes."
— Tim Grierson, Screen International
"Saying little but speaking volumes about American disaffection, apathy, self-interest, and foolishness, [O’Connor’s] performance bolsters this askew heist film and cements his status as cinema’s most magnetic new leading man."
— Nick Schager, The Daily Beast
"The Mastermind roughly strips away the glamour of the average heist movie to focus instead on the mundanity of what comes afterward, as Mooney finds himself set adrift among so many others who feel as though their lives haven’t gone according to plan."
— Lee Jutton, Film Inquiry
