An elusive thief, eyeing his final score, encounters a disillusioned insurance broker at her own crossroads. As their paths intertwine, a relentless detective trails them hoping to thwart the multi-million dollar heist they are planning.
Chuck says:
Though it is being touted as an action film, Bart Layton’s gripping “Crime 101,” is actually consists of multiple character studies, examining three people who’ve each come to a crossroads in their lives. Captivating and smart, the film benefits from exceptional work from its three veteran leads and old-school pacing, in the tradition of directors Howard Hawks and Don Siegel. Much like the taut features they made, there’s not an ounce of narrative fat to the Layton’s adaptation of Don Winslow’s novella, each scene briskly moving the story along, steadily building a head of steam before delivering an honest, ironic conclusion.
One could say that Davis (Chris Hemsworth) is very careful when keeping his professional and private life separate. Others might say he’s paranoid. Living very sparely, the thief covers his bases, double and triple checking every detail in the heists he commits. That he works alone frees him of many complications. That he lives a solitary life does as well. He’s good at what he does, but his handler, Money (Nick Nolte), is growing impatient, as there’s a big job they’ve planned that Davis is hesitant to pull off. When his latest theft goes a bit sideways, he becomes even more gun shy.
Meanwhile, Lou (Mark Ruffalo), a veteran Los Angeles detective, is an anachronism in the department where he works. His younger supervisor criticizes his old-school methods, his coworkers shunning him for eschewing a more modern approach. Still, his gut tells him he’s on to something where solving a rash of high-dollar thefts are concerned. He’s noticed a pattern as to the type of establishments that have been hit, as well as their close proximity to Route 101, presumably used as a means of escape.
Sharon’s (Halle Berry) concerns are of a different sort. Working at an insurance agency that caters to high-profile clients, she’s well aware the clock is ticking for her. Passed over again and again for a promotion she’s earned many times over, she can’t help but notice a younger new hire, also a woman, is now getting the attention and accounts she used to receive. There’s no future for her here and not much of a one in her private life either, the woman content to live alone.
I won’t go into the details concerning how these three cross paths. Suffice it to say, the sense of desperation each of them feels results in them making some questionable decisions that lead them all down a road they would have never contemplated. That Davis finds himself falling for Maya (Monica Barbaro) complicates his situation; conversely, when Lou’s wife (Jennifer Jason Leigh) leaves him, he also finds himself confused and uncertain. What none of them see coming is Ormon (Barry Keoghan), a dangerous, live-wire who’s also a protégé of Money’s. That he’s out to prove something makes him reckless; his impulsiveness and lack of maturity casts him as an agent of chaos to be reckoned with.
Layton and his cinematographer Erik Wilson capture the deceptive shimmer and inescapable seediness of Los Angeles to great effect, especially during the night time sequences. Through their eyes this is a city that preens yet can never hide its true nature, its criminal behavior an inescapable consequence of its disparate duality.
The work from the cast is exceptional and, in some cases, surprising. As always, Ruffalo provides a solid center, bringing a weariness but conviction to Lou that has us in his corner from the start. The actor’s calm, steady approach inherently conveys the character’s moral integrity in ways dialogue can’t. The flipside of the coin would be Keoghan, a bundle of jangled nerves, his live wire energy perfectly capturing the dangerous unpredictability of the character. That you tense up whenever he’s on screen is a tribute to the young actor’s work.
I’ve always contended Berry is an effective performer when working with a strong director and such is the case here. Her ability to show vulnerability and strength is effective, providing an accessibility to Sharon’s anger, fear and hope that’s compelling. In the end, it’s Hemsworth who’s most surprising, the normally gregarious, broad actor giving a contained, introspective performance that speaks to Davis’ pain and confusion. This is a man who, despite his imposing appearance, is quite fragile, afraid of intimacy, reluctant to trust based on his past experiences. The poignancy Hemsworth brings to the role is the key to the payoff in Layton’s surprisingly moving climax.
As the title suggests, “Crime 101” is a primer for how and why some criminal behavior occurs. The film suggests that when the systems we have in place fail those caught up in them, a decision must be made to either continue to have faith in or turn your back on them in an effort of self-preservation. And while the movie does not condone such behavior, the justifications it provides for it are hard to ignore, implying that it we do so, it is at our peril.
4 Stars
Pam says:
“Crime 101” is a multidimensional dramatic thriller that delivers on every level, harkening back to a bygone era of sophisticated moviemaking. Bart Layton, who gave us one of my favorite films of recent years, “American Animals,” co-writes and directs this gripping story, casting Chris Hemsworth as a meticulous, high-end jewel thief with a conscience. In pursuit of one final, career-defining heist, he crosses paths with dangerous forces and quickly finds himself in over his head.
Hot on his trail is Detective Lou, played with grounded restraint and quiet intensity by Mark Ruffalo. Sharon, a conflicted insurance agent portrayed by Halle Berry, makes a split second decision after a final professional blow, finding herself unexpectedly connected with Hemsworth’s character, complicating this triad of people all at a pivotal crossroads in life.
At its core, the premise may sound familiar, but Layton elevates it into something far more layered. As the narrative unfolds, we watch Lou and Sharon make a less than carefully thought out decisions that will permanently alter their lives. The screenplay is sharply constructed, allowing us to inhabit the perspectives of all three central characters, none of whom are flawless, with each navigating survival, morality, and the hand they’ve been dealt.
Hemsworth delivers a criminal we can’t help but root for as he’s measured, intelligent, and unexpectedly human as we sense and learn of a past trauma. Ruffalo embodies the moral ambiguity of law enforcement, reminding us that “doing the right thing” is rarely black and white. Berry brings depth and vulnerability to Sharon, capturing the quiet frustration of a woman fighting to maintain relevance and authority in a male-dominated world. Barry Keoghan injects volatile unpredictability, his chaotic presence keeping both the characters and the audience on edge.
The film is peppered with surprising turns and memorable cameos, but what truly sustains engagement is its balance of tension and character development. The action is compelling, yet it never overshadows the emotional stakes. We remain riveted, not just by what happens, but by who it happens to.
This is what cinema should strive to be: artful, intelligent, and thoroughly entertaining.
4 Stars
