Film Review: The Moon Thieves (2024) by Steve Yuen

“Lies are best based on truth”

The caper or heist film is one of the sub-genres of action that has a lot to offer thematically and stylistically if done correctly. If we think back to “To Catch a Thief” or even the “Oceans”-series, the world these stories show are a reflection of a society based on materialism and property, with the thieves sharing the same obsession as the owners of the object they want to steal. On the other hand, given its potential to be an ensemble piece, the caper/heist feature also offers actors the chance to shine. Steve Yuen’s “The Moon Thieves”, the director’s third feature, tries to combine the two aspects of the genre, but fails to offer some depth to its otherwise intriguing premise.

The Moon Thieves is released exclusively in UK cinemas by Central City Media

Uncle (Keung To) is a major player in the Hong Kong underworld and he is also a successful dealer in fake and real watches. Upon hearing three prestigious watches owned by painter Pablo Picasso will be auctioned in Tokyo, he recruits a crew to steal them and exchange them with counterfeits. Chief (Louis Cheng), a loyal follower to Uncle’s father, is the leader of the crew which also consists of Mario (Michael Ning), an explosive expert, Vincent (Edan Lui), a master counterfeiter, and finally Yoh (Anson Lo), a safe-cracker. Chief and Mario are somewhat skeptical of the two younger members of the team, especially Vincent who has issues with the whole undertaking and prefers to not be part of the heist itself.

However, he changes his mind upon seeing the contents of the safe where the watches are kept. Among the Picasso watches, there is also the infamous Moonwatch, which was supposedly worn by Buzz Aldrin upon walking on the moon for the first time in 1969. During a fireworks festival, the heist takes place and despite a few hiccups, everything goes largely as planned. But when one of the thieves also takes the precious Moonwatch, this sets in motion a series of events, as a Japanese businessman and crime lord is unwilling to give up on his property this easily.

While the premise of having a crew of thieves stealing three watches does not sound thrilling at first glance, Yuen’s film manages to make this idea attractive from the very first minute on. As we are introduced to the character of Vincent, we also delve deep into the world of watches, the art of making a “frankenwatch” using vintage parts from other watches and ultimately selling it to some rather shady looking individuals. The fast-paced editing and overall glossy aesthetics emphasize the image of a world of prestige and property, but also one easy to fool by a shiny surface, which is essentially the core of “The Moon Thieves”. Consequently, the characters go through various episodes in which they con their targets, deceive them and come up with such elaborate schemes that more than once seem a little pointless. Thanks to the performances of the cast, this is done in a way which is quite entertaining and even has some humorous interactions.

At the same time, this elaborate magic-show, which is another way to describe “The Moon Thieves”, becomes stale after a while. In the second part of the feature, the action elements take up much more space, making it look and feel more like every other blockbuster. It is still solid, especially the shooting and the stunts, but then again you cannot help but wonder whether there could have been more depth to some elements of “The Moon Thieves”. The characters, while some of them seem to have an interesting backstory, are more or less the conventional band of lowlifes and con-artists we have come to expect from the genre. Additionally, you cannot help but wonder about some of the casting decisions, especially Keung To as Uncle, who tries to give his best shot at being an intimidating mobster, but lacks credibility due to his young age and delivery.

“The Moon Thieves” is a solid caper/heist movie with some interesting ideas, which fail to fully materialize resulting in an ultimately conventional finale. Undoubtedly, there is a lot of fun to be had with Steve Yuen’s film, but it will also likely be forgotten soon after watching.