While the tone and setting of the film feel authentic, the story of The Mastermind struggles to stay engaging.
“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.”
Kelly Reichardt’s The Mastermind is her latest slow-burn character study disguised as a period heist film. Reichardt, the acclaimed indie auteur known for minimalist, deeply observational works like Old Joy, Wendy and Lucy, Certain Women, First Cow, and Showing Up, brings her signature style to a genre that usually thrives on tension and momentum.
The film’s strongest element is its setting and tone. Reichardt and her team absolutely nail the gritty 1970s atmosphere, with faded working-class neighborhoods, and the quiet desperation of blue-collar life. The filmmakers capture that authentic, 1970s heist movie feel with impressive attention to detail in costumes, production design, and cinematography. Unfortunately, they occasionally play it up a bit too much, particularly with the heavy jazz score that can feel overwhelming and on-the-nose rather than atmospheric.
Though the setting and tone feel comfortably familiar from those gritty genre pictures of decades past, the story itself is lacking in ways that ultimately leave the viewer wanting more. I didn’t feel any real connection to the characters, their motivations, or the stakes of the heist. It all plays out in a detached, almost academic manner that never quite pulls you in emotionally or dramatically. In trying to pay homage to classic heist films and trying to capture the mindset of the character, The Mastermind ends up feeling very generic, more an exercise in style than a story with genuine substance or surprise.
Video
The Blu-ray presents the film in 1080p High Definition 1.76:1. The image is clean and filmic, with naturalistic colors that perfectly suit the muted 1970s palette. Detail is solid in textures and faces, though some interior scenes lean a touch soft, which feels intentional to the period aesthetic.
Audio
Audio is delivered in DTS-HD Master Audio 5.1. The mix is subtle and immersive for the dialogue-driven scenes, with the prominent jazz score filling the surrounds nicely. While the music can feel overpowering at times, the track itself is technically clean.
Special Features
The first for the MUBI releases I’ve received, this actually has a special feature included:
- The Mastermind: Unwinding The Height Film A Video Essay
The Mastermind on Blu-ray is a well-crafted but ultimately hollow experience. While the 1970s period detail is impressive and Reichardt’s eye for quiet observation remains intact, the lack of emotional or narrative substance makes it one of her less compelling works. Worth a rental for fans of the director or 1970s crime pictures, but if you’re following the trend of interesting releases MUBI has been releasing as of late, this one unfortunately isn’t as engaging as their previous titles. This one comes out 6/30.
