Each year, the ubiquitous heist/caper film is a perennial favorite at the box offices; It is usually formulaic and always predictable, attempting to lure audiences with sleek soundtracks, overly complicated hijinks and generic witticisms. However, Neil Jordan’s most recent endeavor manages to fit itself into the genre without deigning to use such cheap selling points. Relying instead on stylish cinematography and real intelligence, “The Good Thief” – a loose adaptation of Jean-Pierre Melville’s film noir, “Bob le Flambeur” – shines as an