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Pickpocket Heist Beats the Odds

Turturro’s pickpocket heist hits $2M as docs and indies defy expectations — and one team rappelled off a building to prove it.

By The Long Shot2 min read

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Current hype level44

The Only Living Pickpocket in New York has stolen more than just wallets — it’s taken the indie box office by storm. John Turturro’s latest, a gritty character study from Noah Segan, crossed $2 million at the global box office after expanding to 1,112 screens in its second weekend. The film, which follows an aging New York pickpocket racing to return a stolen USB drive to a vengeful crime family, now holds a 97% critics score on Rotten Tomatoes and a 95% audience rating.

It’s also earned Turturro a Gotham Award nod and the Golden Eye at Zurich. That kind of momentum doesn’t come easy for a low-budget drama with no A-list star power beyond Turturro himself. But Sony Pictures Classics knew what they had, and pushed hard. The film’s success is a quiet victory for the kind of storytelling that doesn’t need explosions or sequels to matter.

Meanwhile, Everest: The Other Side, the National Geographic documentary by Elizabeth Chai Vasarhelyi and Jimmy Chin, opened to $1 million, with Imax accounting for nearly 83% of that haul. The filmmakers didn’t just promote the film. They rappelled down a 12-story building in West Hollywood to prove their commitment. The stunt worked.

The doc is now in the top 10. Not all specialty releases are this bold. Peter Berg’s The Mosquito Bowl, Netflix’s latest attempt at prestige cinema, opened to $455k across 349 screens. It’s a war drama about college football players drafted into Marine training during WWII, not exactly a genre that sells itself.

Still, it’s part of Netflix’s new push to track theatrical performance like a studio. And then there’s the rest: Juliette Binoche’s Queen At Sea, a Berlin Silver Bear winner, launched with $10k at a single theater in New York. La Bola Negra, a Netflix awards contender, added another $418k. Even the obscure, NAZA, picked up mid-theatrical run, hit $1.9 million.

The numbers don’t lie. Audiences still care about stories that aren’t made for TikTok. But the real question isn’t whether these films are selling tickets. It’s why we’re still surprised when they do.

The industry keeps betting on franchises, but the real winners are the ones who stay small, stay honest, and keep showing up.

Reported from

This article was written by the CutMirchi desk from the reporting above. Facts are attributed to their original publishers.

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