Kelly Reichardt’s recent film - 'The Mastermind,' is a tribute to the 1970s, marked by its distinct visual style, muted colors, and unhurried pacing. The film's focal point is a gritty protagonist, portrayed by Josh O'Connor, whose meticulous planning leads to a botched robbery.

Set in Massachusetts around 1970, 'The Mastermind' narrates an art theft tale - a thoughtful deviation from infamous art heists such as the one at Boston’s Isabella Stewart Gardner Museum. The protagonist, James Blaine Mooney (O’Connor), targets not the valuable Old Masters, but four paintings by American modernist Arthur Dove, an influential yet underrated artist of the time.

The narrative, Reichardt’s solo writing credit, echoes elements from her previous collaborations with Jonathan Raymond, incorporating detailed planning and injecting subtle humor. The opening sequence depicts Mooney’s careful study of a fictional museum and its relaxed security, setting the stage for his minor heist.

Mooney adopts a family-as-criminal-ensemble approach, roping in his sons as decoys and his wife, Terri (Alana Haim), as an accomplice. As Mooney further evolves his plan to steal Dove’s paintings, Terri maintains relative ignorance, indicative of a brewing family conflict.

Despite carefully selecting three associates, the theft doesn’t go as planned. The fallout is disastrous and highlights the dangers of associating with unreliable partners. Following the ripples caused by the daredevil daylight heist, the film then delves into the aftermath of the robbery.

Reichardt expertly blends comedy within a serious narrative. She also respects the time period, avoiding overt kitsch yet managing to include laugh-inducing relics from the era. Intricacies of the crime and focusing on mundane planning elements seamlessly blend comedy within the serious narrative arc.

The performances, especially O’Connor’s depiction of a melancholic thief and Alana Haim’s portrayal of a conflicted wife, enhance the narrative. The film maintains authenticity with its visual references to the era, contextualizing the story within the broader backdrop of anti-Vietnam demonstrations, campus protests, and political policing.

The film concludes on a poignant note, with Mooney crushed and cornered. Reichardt's narrative emphasizes the reality of middle-class struggle and the desperation that drives even comfortable individuals to make rash decisions. Jazz musician Rob Mazurek's distinctive, laid-back score adds to the movie's understated vibe, making The Mastermind a singular experience of 70s American milieu.