BREAKING IN has calm old pro Burt Reynolds, 52, warn restless Casey Siemaszko, 27, that “More guys blow their careers ’cause they can’t control their bad habits.” They’re playing a teacher-mentor pair of burglars in this sly 1989 caper, written by John Sayles, directed by Bill Forsyth. One can’t miss the irony of Burt—in one of his best parts and performances, after a ten year stretch of misfires and often outright junk—uttering that line. From 1978 thru 1982 he’d been the world’s top box office star, but after a long slog to get to the top, his run of often self-inflicted duds reduced his draw to such that even a lean, well-crafted piece like this was left on the vine. Good reviews didn’t help; this gasped at 141st place, a gross of $1,900,000 insult to injury against a $5,500,000 budget. It was his last good role until Boogie Nights nine years later. *

Career burglar and safecracker ‘Ernie Mullins’ (Reynolds) chance encounters break & enter amateur ‘Mike Lefeve’ (Siemaszko) and is impressed enough by the naïve younger guy’s nerve that he enlists him as partner, training him in the finer arts of grand theft. Thanks to time in the slammer, Ernie’s wised up enough to know how & when to lay low, but a taste of pulled-off scores fosters giddy carelessness in Mike. There’s always that “one more job…”

A decade after his last really good role (Starting Over) and playing someone a decade older than himself, Reynolds cans the cutesy wiseass act that shredded the welcome mat in Stroker Ace and other smirk-meet-car fiasco’s and the scowl-means-serious posing of armpits like Malone and Stick (now there’s a title begging for a riposte) and plays it straight, honest and layered. He’s funny because Sayle’s script is, and when he’s in earnest, even rueful—again because the script and direction are smart and in synch—he’s genuine and unaffected. Crooks should be so likable.

The offbeat Siemaszko had been gaining traction in supporting gigs (Stand By Me, Young Guns) and he gets probably his keenest part here; Mike’s no Einstein but he’s not The Jerk, either. He holding his own with Burt, and nails numerous amusing scenes, especially those involving vacuous hooker ‘Carrie’ (Sheila Kelley, deftly done) and an alert but luckily malleable Doberman Pinscher.

The assorted jobs they pull off (in Portland, Oregon) are clever and believable, things are tart but never coarse, and the absence of violence is refreshing. Michael Gibbs compliments it all with a smooth music score.

In support are Maury Chaykin, Lorraine Toussaint and Stephen Tobolowsky, with bits for old hands Albert Salmi (final role) and Harry Carey Jr. While it’ll draw a blank from the rest of the planet, dyed-in-the-rain Portlanders will recognize Kim Singer and Ted Bryant, local news personalities of the day. 91 minutes.

* Also overlooked by incurious audiences that year were worthy entries The Mighty Quinn, Old Gringo, Farewell To The King, Winter People and Jacknife.