Film
The Art of the Steal
Other titles called The Art of the Steal: the 2010 film.
A scrappy heist comedy about a washed-up motorcycle stuntman and his ne'er-do-well brother plotting to steal a priceless medieval manuscript. Kurt Russell shambles through the lead with comic timing and charm, the plot doubles back on itself pleasantly, and the whole thing moves with the genial pace of a con that might actually work out. It's a small, unpretentious film for people who like their crime stories loose and funny.
Should you watch it?
Watch it if you enjoy scruffy, affectionate caper comedies where the crooks are lovable screw-ups and the banter between a bickering brother pair carries the plot.
Skip it if the comedy is light and rambling rather than sharp, and its bantering sibling dynamic may feel more familiar than fresh if you want a tightly plotted heist.
What it asks of you: It runs a brisk ninety minutes and cares more about wisecracks than logistics, so loose, forgiving attention suits it better than close tracking of the plot.
Not sure? Find tonight's pick in a minute.
If you liked this
Ocean's Eleven2001
The blueprint for modern heist comedies: a clever plan, a charming ensemble, and the pleasure of watching very good people execute something tricky. Elegant, funny, and endlessly rewatchable.
But If you want real stakes and tension, the breezy tone might feel too light. It prioritizes style and fun over genuine jeopardy.
Kiss Kiss Bang Bang2005
A crime caper with real snap: Robert Downey Jr. and Val Kilmer riffing brilliantly, twisty plotting that actually pays off, and a script that's both funny and genuinely cynical about Hollywood's underside.
But The tone whipsaws between comedy and noir in ways that don't always land. Some find the voiceover narration overbearing.
Matchstick Men2003
Con artists and the bonds of family, with Nicolas Cage at his most vulnerable and hilarious. Ridley Scott makes small-scale crime feel intimate and surprisingly moving alongside the laughs.
But It's slow to set up and relies heavily on character over plot momentum. If you need constant action, it'll feel slack.
Not sure tonight? Get a pick in a minute, starting from The Art of the Steal
The wildcard
Something you would not have found on your own.
Rififi1955
Both understand heists as fundamentally about style and brotherhood over money. Crunch's impulse to steal as self-expression echoes Rififi's criminals who steal because the theft itself is beautiful.
The granddaddy of heist films: a diamond robbery conducted almost entirely without dialogue, shot in post-war Paris with geometric precision. It has everything — style, technique, moral complexity — that makes stealing feel like art.
But The 1955 pacing and blackmail subplot feel dated. The lack of music and dialogue in key scenes will bore viewers who need constant stimulus.
More like this (8)
The Brothers Bloom2009
Two con-artist brothers pulling off a sprawling, beautiful con for the love of the con itself. Witty, romantic, visually gorgeous, and full of genuine affection for its characters and their schemes.
But The plotting gets ornate to the point of opacity. Some viewers find it tries too hard to be clever and whimsical.
The Italian Job1969
The original heist-movie lightness: a gold robbery in Turin, Mini Coopers, Michael Caine at his easiest, and the kind of fun that doesn't need to be ironic to land. Pure genre pleasure.
But The pacing is leisurely by modern standards, and the plot serves mood more than coherence. The gender politics haven't aged particularly well.
Lock, Stock and Two Smoking Barrels1998
Interlocking London crime stories, quick-cut editing, sharp banter, and genuine surprises. Guy Ritchie's debut is energetic and funny without feeling slick or manufactured.
But The overlapping plots can be confusing on a first viewing. The cockney accents and British slang might be hard to follow if you're not tuned in.
Bottle Rocket1996
Wes Anderson's feature debut: two small-time criminals in over their heads, tender and funny in equal measure. Owen Wilson and Luke Wilson are gently charismatic as guys who don't quite fit into their own caper.
But If you don't connect with Anderson's mannered style early, it'll feel precious rather than endearing. The pacing is deliberate and understated.
Heist2001
David Mamet's one-word-per-line dialogue snaps and crackles like nothing else. Gene Hackman leading a team through an intricate plan with wit and precision; Mamet at his most playful.
But The dialogue-heavy approach borders on abstract; if you need clarity over style, it will frustrate. Some find the wordplay exhausting rather than clever.
Nine Queens2000
An Argentinian con film that proves heist logic transcends language. Tightly plotted, genuinely clever, and every revelation lands because the script respects your attention.
But Subtitles required. The plot is intricate enough that it demands focus; multitasking viewers will miss crucial beats.
Sneakers1992
Both are films about clever people who steal not for glory but for the intellectual satisfaction of pulling off something impossible. Same register — playful but not dumb.
A crime film disguised as a comedy: Robert Redford leading a team of eccentric hackers and con artists through increasingly surreal stakes. Smart, paranoid, funny, and oddly prophetic about surveillance culture.
But The technology references have dated badly, and the 90s conspiracy plot threads feel scattered. It doesn't quite commit to being either thriller or comedy.
This Is Spinal Tap1984
Two films where the engine is the bond between brothers or bandmates who are fundamentally small-time and know it. Both celebrate people who keep trying even when the world has moved on.
A mockumentary about a failing rock band contains more truth about delusion, brotherhood, and struggling for relevance than most serious dramas. Christopher Guest's affection for his idiots is profound and hilarious.
But If you don't have patience for absurdist comedy or rambling dialogue, it will feel like watching a home video of people you don't know. The humor requires you to like the characters.
People
Cast
Kurt RussellCrunch Calhoun
Matt DillonNicky Calhoun
Jay BaruchelFrancie
Kenneth Welsh'Uncle' Paddy MacCarthy
Chris DiamantopoulosGuy de Cornet
Katheryn WinnickLola
Jason JonesInterpol Agent Bick
Terence StampSamuel Winter
Devon BostickPonch
Karyn DwyerGinger
Joe PingueCarmen
Stephen McHattieDirty Ernie
Directing
- Jonathan SobolDirector
Writing
- Jonathan SobolWriter
Production
- Leah JaunzemsAssociate Producer
- Nancy KlopperCasting
- Stephanie GorinCasting
- Bob WeinsteinExecutive Producer
- Jeff SackmanExecutive Producer
- Mark SloneExecutive Producer
- Noah SegalExecutive Producer
- Marek PosivalLine Producer
- Nicholas TabarrokProducer