When the jazzy, jittery opening of Kelly Reichardt’s “The Mastermind” begins with slow, vertically crawling title cards in Bauhaus-like font, you know you’re about to be thrown back in cinematic time.

Shot on film with the grainy warmth that evokes a sleepy 1970 New England municipality as much as it does actual movies from the ‘70s, “The Mastermind” is Reichardt’s version of a heist movie — meaning that the filmmaker hijacks conventions laid by filmmakers like Jean-Pierre Melville and Sidney Lumet for a spin that still retains her patient bent for long, luxuriating takes. Here, Josh O’Connor plays J.B. Mooney (what a name!), an art thief who falls down a hole of his own digging, as a poorly hatched job to rip off a series of Arthur Dove abstract paintings from a fictional Massachusetts museum sends his private and family lives careening out of his grasp.

“The Mastermind...