Immersing itself in the quintessential atmosphere of New York’s past, ‘Pilfered’ marks the inaugural film solely carried by Austin Butler. A hustling scene unfolds at Paul’s, a hangout just off from Benny’s Burritos, at the intersection between 6th and Ave. A. The setting is The Lower East Side, New York, in 1998, a time when the district still retained its razor-edge appeal, before completely transitioning into the hipster haven it’s known as today. Amid the vibrant ambiance, Hank (Austin Butler) significantly stands out. He dictates the tempo of the bar, serving as the ultimate authority, even as the owner (Griffin Dunne) holding the name of the place mingles with the patrons.
Hank, once a promising baseball player from the Bay Area, had his sports aspirations cut short by a traumatic car accident. Now he navigates life as a bar employee, serves beer, and maintains a close relationship with Yvonne (Zoe Kravitz), his extremely perceptive EMT girlfriend. It’s an adequate life for a good-looking young man in his twenties, with tendencies to overshare his love for alcohol and somewhat regular undress. However, his world takes a turn when his British punk rocker neighbor, Russ (Matt Smith), requests him to take care of his cat.
The story takes a thrilling dip when gangsters come knocking, bullets start flying, and deaths surround what they describe as ‘an extraordinarily extensive amount of money’. It is an iconic representation of the late Nineties LES. ‘Pilfered’ is an engaging film, a take on Charlie Huston’s 2004 novel, brilliantly penned for the screen by the author himself. Interestingly, this adaptation sets the story’s timeline several years behind its original, choosing to dwell in a comparatively rawer, partially-grittier era where iconic New York landmarks such as the Twin Towers and original Kim’s Video still existed.
The film bears a distinct New York essence, carefully crafted with nostalgic elements of the era by its director, Darren Aronofsky. The filmmaker known for his mind-bending works in ‘Pi’ (1998), ‘Black Swan’ (2010), and ‘Mother’ (2017), or his raw human narratives like ‘The Wrestler’ (2008) and ‘The Whale’ (2022), surprises us with his approach in ‘Pilfered’. Here, he delivers something more straightforward, much like the game Hank once held dear – a baseball metaphor apt to describe his even-handed execution of this material.
However, the film reveals a clear division in its structure, where the initial half delves into Hank and Yvonne’s delicate yet complex relationship, while the latter zooms into the riveting progress of a heist movie. Each section stands out in its merits. Aronofsky’s palpable fondness for the less transformed downtown of the past amplifies the story’s unique hue, dealing a solid character to what seems like a caffeinated iteration of ‘After Hours’. Despite the storyline’s intensity, ‘Pilfered,’ does not come short of distinct personalities.
The narrative features a brilliantly menacing pair of Russian goons, Aleksei (Yuri Kolokohnikov), and Pavel (Nikita Kukushkin), the latter bearing a stark resemblance to a certain Dominique Pinon’s character in the 1981 French thriller, ‘Diva’. Then there’s Colorado (Benito Martínez Ocasio, a.k.a. Bad Bunny), a Puerto Rican criminal kingpin anxious for his lost bounty. A narcotics investigator, Roman (Regina King), comes into the scene, sniffing around Hank after he encounters a dramatic showdown.
Not to forget Bud, the fiery cat, portrayed by a cat named Tonic, who undoubtedly deserves a multi-film contract. Lastly, the brilliant Drucker brothers, Lipa (Liev Schreiber), and Schmully, the homicidal Hasidic gangsters who epitomize family ethics, periodically prioritizing their grandmother’s visits. The rendering of these accomplished actors transforms what could have easily been mere stereotypes into an enthralling duo that genuinely lightens up the third act of the film.
The Drucker siblings indeed add a zing to the story, hinting towards an engaging prequel centered around these intriguing characters. Despite the impressive assembly of characters, one thing is clear in ‘Pilfered’. The film revolves around one man, an ordinary person swept into a whirlwind of exceptionally brutal circumstances that might have excited the great Hitchcock. More importantly, it’s about the performance of a single actor – Austin Butler.
Austin Butler gave indications of his talent when he took on a challenging role in The Iceman Cometh on Broadway, back in 2018. His great potential was evident with minimum screen time in films like ‘Once Upon a Time…in Hollywood’, and lately in ‘Eddington’. He displayed a knack for intensive method-acting in ‘Elvis’, embodied a deep James Dean vibe in ‘The Bikeriders’, and vividly exhibited eccentric characterisation in ‘Dune: Part Two’. Yet, one question lingered, could this handsome, enigmatic actor carry an entire film on his shoulders?
‘Pilfered’ finally rectifies all speculation. The audience may be drawn by the director’s renowned reputation or their commitment to his filmography. Yet, they will unmistakably acknowledge this film, not as Darren Aronofsky’s recent oeuvre but as Austin Butler’s emphatic debut. Entrusted with carrying the film, Austin Butler alone on screen astonishingly demonstrates his commendable talent.
There are no alien disguises or Elvis’ immortal charm, and he’s not operating behind a prominent headliner. Instead, Butler adopts his natural charisma and on-screen magnetics to convincingly portray his character, establishing himself as a potential frontrunner. ‘Pilfered’ successfully navigates through the past, laden with enough thrill and unexpected twists to retain your interest.
However, the film stands as a more significant testament to Austin Butler’s potential. It’s a testament to his innate capacity for stealing scenes, an endorsement of his initiation as a remarkable leading man sans any embellishments. With ‘Pilfered’, Austin Butler’s prowess is unequivocally accepted, without reservations or appended conditions. This recognition marks the dawning of an era for Austin Butler, necessitating relevant adjustments.
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