With an anti-eco-thriller, an anti-buddy-road-movie and a couple of anti-westerns under her belt, Kelly Reichardt may never have met a genre she couldn’t meticulously deconstruct. But rarely has she done so with such offbeat wit and bluesy wisdom as with anti-heist movie “The Mastermind,” a perfectly judged rejoinder to the glamorous high drama of the traditional robbery-gone-wrong plot, in which an extraordinary act gradually comes undone when exposed to nothing more malign than the everyday forces of ordinary life, and the fatal flaws of an ordinary man. Very possibly her most accessible and enjoyable film to date, still it remains an unmistakably Reichardtian investigation into the fabric of ordinariness,
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