Reviews
Crime 101
Just like superhero movie fatigue is a real thing, for me heist movie fatigue has become a serious issue, particularly the sloppy, generic ones Amazon MGM have pushed straight to Prime Video. So you can forgive me for thinking Crime 101 was the heist film nobody asked for, but to my surprise it may actually be the heist film everybody needs. With its somewhat different approach to a tired and overused genre, it felt like a breath of fresh air.
Written and directed by Bart Layton, Crime 101 follows four individuals with their own storylines that inevitably begin to overlap. Chris Hemsworth plays Davis, the criminal mastermind who has terrorised the rich neighbourhoods of Los Angeles with a pattern of successful jewellery heists along the 101 highway without leaving a trace and without harming anyone. Mark Ruffalo plays veteran detective Lou, who is languishing in his role despite his years of service. He becomes so obsessed with tracking down the so-called 101 robber that not just his career, but his long term marriage is at risk. Their dynamic forms a classic cat and mouse chase that is hugely entertaining to watch unfold.
Halle Berry plays Sharon, a frustrated high end insurance broker dealing with multi millionaires and, unfortunately for her, Davis’s next target. However his focus on her comes at an opportune time, as Sharon has been repeatedly overlooked for promotion to partner at her firm, making her a far more cooperative plant than expected. The real problem for them, other than Lou sniffing around, is Ormon (Barry Keoghan), a heavy handed and far clumsier thief hired by Davis’s boss Money (Nick Nolte) after Davis says he is done. Ormon’s approach makes the heists unpredictable and allows Crime 101 to go in directions you don’t anticipate.
Complaints will inevitably be made by some about the deliberate, slow and methodical build, as Layton’s strong script carefully establishes the characters’ narratives and backstories. However, those with the patience to stick with it will be throughly rewarded, as watching the many threads in Crime 101 gradually come together proves deeply satisfying and provides a relatively unexpected payoff.
Speaking of the script, there is one scene in the final act where Hemsworth and Ruffalo’s characters sit together in a car and engage in an intense verbal joust that is written incredibly well. The dialogue is brilliant, leaving both the characters and the audience on edge trying to work out whether they recognise each other. It is not just that moment either, the entire film feels carefully constructed, with every story development feeling purposeful.
The performances of the three main leads are strong in different ways. Hemsworth gets to show real range, even providing emotional moments in the final act, and what would normally feel like an unnecessary romance shoehorned in with Maya (Monica Barbaro) actually works because of their on screen chemistry. Ruffalo suits the weary detective role perfectly. Berry is also excellent, particularly in one scene where her age is brought up. It does not feel like acting but something more personal, and her delivery makes it land with real weight.
Amazon MGM heist films are often visually clunky, so I was genuinely surprised by how good this looks. The car chases and stunts in particular are fantastic. The camerawork makes sure the audience can follow every near miss and slide around corners, and even creates striking visuals by using a helmet camera while Ormon rides his bike at high speed. The score also heightens the excitement of the chases and matches the rhythm seamlessly.
It would have been easy for Crime 101 to rely on its stars to get bums on seats and churn out the most generic heist film imaginable, one that would be forgotten days after release. Instead, Layton has taken a risk and created a slow burn heist film with a final act that more than rewards the audience’s patience. It is not perfect, but it achieves something I thought almost impossible by making a tired genre feel fresh again. Crime 101 deserves to be seen on the biggest screen possible.