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Warning: Full spoilers for the film follow.

I’ve been a fan of Austin Butler’s ever since I saw him in The Shannara Chronicles. While the series left much to be desired as an adaptation of one of my very favorite epic fantasy series, Butler really did shine as Wil Ohmsford. Little did I know that he would go on to have a remarkable subsequent career, excelling at playing a particular type of tortured and troubled young man, all while looking like a fallen angel. (Yes, I might be a little in love with him after watching his film).

The most recent iteration of this figure is Hank Thompson, a young man who once had a promising career in baseball but, due to a drunk driving accident–one that took the life of his friend–he has spent the subsequent years drinking away his troubles and carrying on a quasi-relationship with Yvonne (Zoë Kravitz). His entire life is turned upside down, however, when his next-door neighbor Russ (Matt Smith) leaves for London, which sets in motion a train of events that sees Hank dealing with a corrupt cop, Elise Roman (Regina King), her goons, and two Hasidic brothers who are more than happy to kill anyone who gets in their way (Liv Schreiber and Vincent D’Onofrio). While Hank eventually gets a happy ending of sorts, he has to sacrifice much along the way.

It’s no exaggeration to say that Darren Aronovsky’s Caught Stealing is one of my favorite movies of this year. It’s the type of crime thriller that knows what its purpose is and it doesn’t try to be anything else. It is one of a long history of films about an everyman who finds himself caught up in forces that he knows nothing about and has to use all of his considerable skills to survive. There are more than a few bodies left by the wayside, but this isn’t a cynical film. It is, instead, a blunt look at the dreadful lengths to which people will go for money.

Indeed, there’s a beautiful brutality to the film, one that’s anchored by Butler’s performance. He’s one of those actors who manages to combine in his person the beauty and the hardness of masculinity. Part of it is, I think, the cherubic beauty of his face, which looks like it sprang out of a Renaissance painting, and this sits somewhat at odds with the lean muscularity of his frame. Aronovsky gives us many opportunities to appreciate his masculine beauty, and there are moments when his raw sexuality seems to just envelope the screen and us along with it.

At the same time, Butler also makes clear that Hank is a man haunted by his past and, at first, he struggles to make sense of the violent world of which he is now a part, let alone figure out a way to survive. As the violence escalates, he finds that he, too, has to give away a little slice of his humanity in order to make it out alive. This isn’t to say that there isn’t some humor here, too, because there is. I wouldn’t go so far as to call this a crime comedy, but there were some moments when I did laugh out loud (though it’s fair to point out that most of these moments involved Bud the cat, who proves to be Hank’s best sidekick).

As much as Caught Stealing is about Hank’s efforts to stay alive–and, if possible, to keep those he loves from getting caught in the crossfire–it’s also about making peace with his traumatic past. At numerous points in the film he wakes up from troubled dreams in which he is forced to relive the terrible moment when his drunk driving ended up killing his best friend and shattering his knee, thus derailing his promising baseball career. It’s only when he takes accountability for what he did that he can move forward, that he can stop running and seize control of his own destiny. There’s something apposite and even poetic about the fact that, in the film’s third act, he slams the car he’s driving into a pillar, killing the Hasidic brothers Lipa and Shmully in the process. Given that these two men were the ones responsible for the death of his beloved Yvonne, this moment is even more satisfying.

Butler might be the heart and soul of this film, but he’s matched by a formidable supporting cast. Of these, the best is, I think, Regina King, who never fails to impress. From the moment that Roman appears in Hank’s apartment, one gets the sense that there’s more to her than meets the eye. She seems to take an inordinate amount of pleasure in playing mind games with Hank, trying to jar something loose, as she puts it. As soon becomes clear, however, she’s brutal and violent and ruthless, and she will do anything to get her hands on the money that Russ has stolen. And, because King is just such a charismatic screen presence–and because she so effortless exudes authority–you almost find yourself wanting Hank to just do what she says so he can make it out alive (even if, as is also clear, she’ll almost certainly kill him once she gets what she wants).

And, lest you be concerned about Bud the cat, let me rush to tell you that he makes it all the way to the end! I must admit that I was a bit nervous, and if this was a movie in which the cat dies I most certainly would have hated it. Instead, the fact that Hank is so willing to look out for a feline companion that Russ foisted on him says a great deal about his innate goodness, and one can’t help but cheer for him as he tries to wrest some control of his life from those who consistently try to take away what little agency he has.

That, I think, is what makes Caught Stealing such a perfect film for our present moment. We’re all at the mercy of bad faith actors, and many of us feel as if we’re playing a game that is rigged against us, with no real knowledge of the rules or who we can trust. This film reminds us that it’s up to us to seize our destiny, though hopefully with fewer bodies left behind.