The Only Living Pickpocket in New York review – John Turturro steals this simple, charming tale | Sundance 2026

nThe light crime noir The Only Living Pickpocket in New York is a film obsessed with the gap between old and new. There are shared memories of how things used to be, and some of the older characters refuse to keep up with digital advances, while there are eye-rolls from the younger generation, poking fun at those who have lost touch with how the world works now. I’d argue that the subject matter is often a little over-the-top, a classic case of writer-director Segan — a frequent collaborator with Rian Johnson — telling rather than showing. But his film makes a compelling case for the old, a throwback to a 1970s character-driven thriller made with flair borrowed from yesteryear.

The title itself is partly borrowed from the Simon and Garfunkel song and speaks to the protagonist of a dying breed, a pickpocket who takes pride in the old ways; Although he may steal smartphones, he doesn’t own one. He’s played by John Turturro, an actor who hasn’t enjoyed many major roles lately – his last role being in the poorly received Big Lebowski “sequel” The Jesus Rolls and only because he wrote and directed it himself. But this is a welcome move, or step back, for someone who deserves something more substantial to break into. Fittingly, he’s someone who arguably had a more prominent career as a leading man at a different time.

His character, Harry, may be straight out of a crime novel that could fit in your coat pocket — he works alone, sticks to his routine, and is a better thief than ever — but part of the film’s pleasure lies in the familiar. Nostalgia can become a crutch for many filmmakers, but there’s also real honesty here.

Harry sticks mostly to petty theft, works on the subway, and lives in the Bronx but finds most of his work in Manhattan. He sells out to an old friend, pawnbroker Ben (fellow Quinn collaborator Steve Buscemi), and spends his free time caring for his wife, who suffers from a degenerative disease that leaves her mute and immobile. As is often the case with a character like this, Harry makes the mistake of stealing from the wrong guy, the evil offspring of a connected crime family (rising star Will Price, reasonably obnoxious), and has to find his way out of a dangerous place before the day is out.

It’s pretty much the film one would expect, but it’s an engaging enough 88 minutes long. Often what was taken for granted – in what Harry affectionately remembers as the good old days – can now seem like a miracle, and as one would hope given the title, this is very much a location film, a distinctly New York film, and one of the best I’ve seen in a while. Harry’s life may be in danger, but it’s a fun trip to watch a magical movie during his travels around town, as he must find his way without Google Maps. Although the reunion with his estranged daughter may seem a bit schematic, it allows for a wonderfully effective performance from Tatiana Maslany, who brings decades of anger and grief into one scene. I also tell Harry he looks bad, and it’s probably the most extreme moment in the film, given how good Turturro looks at 68 — a cool guy but not over-the-top in his city manner — and such a likable, if morally questionable, fellow that I would have gladly spent more time with him, stealing from New Yorkers and complaining about prices to anyone who’ll listen.

Segan’s script isn’t quite as clever as it sometimes seems to be, and there’s some double “Oh, you think so” this “Event” has less clever and more intelligent explanations. There’s also a surprise in the Oscar winner’s final act that’s a bit of a jolt given their particularly outsized character, though Segan manages a satisfying bittersweet ending. It’s an earnest homage to a lot of things – a city, a time, a genre, a mentality, an actor in Turturro – and while we’ve certainly been here before, it’s nice to be back.