In 1990, millions of dollars worth of art was robbed from Boston's Isabella Stewart Gardner museum. The crime remains unsolved but provides a backdrop for ANY DAY NOW to explore a story of an insecure 20-something to learn the value of self-respect and the confidence that comes with exercising such respect.
Steve (Taylor Gray) is the 20-something in question and he, by all metrics, should be cool. He's good-looking with a healthy beard. He's a guitarist for a band who's earned major-label interest. He works as a night shift guard for the museum, getting paid to absorb the work of hundreds of artists every night, all to himself. No one's robbing museums like gas stations; it's a quiet gig.
But Steve's Achilles heel is that he's simply a doormat. He pines for his roommate/bandmate's girlfriend. Said roommate is months behind on rent and Steve's lack of spine makes this guy comfortable with blowing off any conversation about it. Steve's boss punks him for swiping a candy bar from the vending machine (which in most cases, is owned by an independent entity and therefore, out of this guy's jurisdiction, so fuck off, copper).
But it's when art thief Marty Lyons (Paul Guilfoyle) approaches Steve in a bar with a proposition to cut him in on the profits of a robbery if he'll look the other way that Steve's prospects start to change. Marty does what he wants, with no qualms or boss to answer to. He loves art, music, a good time. He's lived three lifetimes' worth and ends up taking Steve on as a mentee. I mean, sure, he's a guy who robs museums and sells the art on the market, but is that really worse than living an entire life as an unsatisfied guy without the courage to spend his remaining days on this floating rock in pursuit of what he values and desires? Life's too short to waste it for other people.
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