Crooks [Tribeca Festival Review]

by Mike McGranaghan

One thing you can always expect from a new Mickey Keating film is that you won’t know what to expect. The Invader and Darling filmmaker specializes in stories that take wild turns, and his latest is no different. Crooks, which had its world premiere at the 2026 Tribeca Festival, proves that Keating is still at the top of his game.

Faye (Angela Trimbur) is a nightclub singer who walked away from a life of crime. One evening, a figure from her past shows up. He is Johnny (Chase Williamson), her former partner in thieving, and his mission is to convince her to join him in robbing a poker room filled with rich gangsters. In desperate need of cash, she agrees. Faye goes on the run after the heist is finished, eventually ending up in a deserted small-town diner run by Blanche (Melora Walters). Meanwhile, a mob “fixer” (Keith Kupferer) and a cop (Colin Huerta) come looking for her.

What I’ve done there is to omit all the trademark wild turns of Keating’s work. Let’s just say that everybody in the movie is a crook in some way, and there’s an eventual shift in who the protagonist is. Part of the fun of Crooks is that it refuses to follow any rules. While the plot intentionally borrows elements from decades of cinematic crime thrillers, it assembles those elements in its own unique manner. The point is to look at the corrupting power of money. When big bucks are on the table, people’s behavior can become unpredictable, especially when their needs aren’t initially apparent.

In many respects, the picture is a loving tribute to the crime genre. A lengthy flashback scene between Faye and Johnny is shot in black-and-white, complete with atmospheric lighting and lots of cigarette smoke. Keating is clearly paying tribute to film noir. Other sections have the look and feel of a gritty ‘70s crime drama like Dirty Harry or the Roger Corman flicks of the day. Keating expertly mixes those and other homages to create something that simultaneously, ironically feels familiar and new.

Across the board, the cast members understand how to bring this material to life. Especially noteworthy is Magnolia’s Melora Walters, who starts off playing Blanche as a mousy figure before gradually revealing an interior edge. She’s incredible in the role. Trimbur also stands out, turning Faye into a modern-day femme fatale.

Crooks has moments of devious humor and intense action. Even during the talkier sections, it never fails to entertain, thanks to the snappy dialogue and the appealing performances. Mickey Keating’s desire to play with the storytelling format once again yields a movie that is delightful to get lost in.

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