Let's be real, director Thomas Vincent isn't aiming for Rififi here. Masterplan operates in the same breezy register as a mid-tier Ocean's installment or a rainy-Sunday caper you stumble onto and can't turn off. The tone is light, the pacing is snappy, and the film genuinely seems to enjoy its own ridiculousness. When Roger casually drops the "I'm your father" bomb mid-heist-prep, the movie treats it with just the right amount of melodrama and comedy.
Tucci is the obvious MVP. He plays Roger as a man who's charming enough to get away with being a terrible parent, all twinkly-eyed mischief and elaborate hand gestures. The man could sell sand in a desert, and he sells the idea that two complete strangers would trust him long enough to rob the Louvre (or, you know, wherever the script sends them). Tabasco brings a scrappy, fiery energy to Chiara that keeps the sibling dynamic from feeling too sitcom-y, and Belmondo's Jay is the perfect anxious straight man, forever the sensible one in a family of chaos agents.
The screenplay has fun with the heist itself, layering in double-crosses and close calls, though the second act sags a bit under too much exposition and a few too many "we need to talk about our feelings" detours. The chemistry between Chiara and Jay sells the siblings-from-day-one conceit better than the script probably deserves. There's a scene where they're forced to improvise a cover story together, and it's genuinely endearing how badly they bungle it.
Visually, the film makes the most of its European locations, with slick cinematography that gives the whole thing a glossy, postcard-perfect sheen. The action sequences are serviceable but not especially memorable; Vincent favors quick cuts over long takes, and there's a chase through a crowded market that feels like it was lifted from a dozen better movies. But the movie knows its strengths: character banter, Tucci's face, and vibes. It leans into all three.
Is Masterplan going to win awards? No. But it's the kind of movie that's going to absolutely kill on a streaming service in six months, and there's no shame in that. It's confident, unpretentious, and knows exactly how much plot it needs to get from one set piece to the next.
