LFF: The Mastermind

Kelly Reichardt has established herself as a master of slow, moving dramas that test the boundaries of their genre conventions. Whether it be First Cow or Meek’s Cutoff that find unconventional ways to test the Western, she always finds ways to create moody pieces that delve into the human psyche in an unshowy but contemplative way. 

The Mastermind is no exception. At first, it has the tropes of a 1970s heist film, much like The Friends of Eddie Coyle or Straight Time. But as the film progresses, it becomes something stranger. 

A terrific Josh O’Connor, who seemingly can do no wrong right now, gives the character of James Mooney depth, even when Reichardt reveals little about him from a purely surface level. Much like the best 70s protagonists, there’s something sad and pathetic about Mooney. He is a sore loser, and he takes for granted everything that’s good in his life, particularly his family

The final shot can be viewed as hilarious or anticlimactic. But, there was something in its strange, surprising nihilism that I couldn’t help but laugh. 

Whilst some of the cast are slightly underutilised (Alana Haim is very good, but feels like she has very little to do), the Mastermind is a unique, even hypnotic experience backed by a terrifically energetic jazz performance.