THE STORY – 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.
THE CAST – Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh & Nick Nolte
THE TEAM – Bart Layton (Director/Writer)
THE RUNNING TIME – 140 Minutes
It is easier to rip the band-aid off early in this review because the inevitable Michael Mann comparisons in Bart Layton’s “Crime 101” are abundant. While this may sound somewhat exhausting to Mann loyalists, it is not necessarily the leak that sinks the ship. “Crime 101,” like many crime thrillers that wear their influences on their sleeve, instantly slots itself into the subgenre of heist films, clearly aiming to be molded in the image of “Heat.” In defense of Layton, why would a filmmaker not draw inspiration from one of the most influential movies to close out the last century? At least Layton’s work here benefits from adapting Don Winslow’s novella of the same name. Winslow, an author known for works focused on crime and the individuals who both perpetrate and suffer from it, lays the groundwork for a thriller with a bit more substance. When it deviates from what has been seen before, “Crime 101” stands on its own two feet. Still, for much of its bloated runtime, the film is merely adequate, rehashing familiar territory while, admittedly, remaining entertaining.
The film opens with the three protagonists preparing for another day, bound to the literal 101 Freeway where they spend most of their lives commuting. The main catalyst tying everyone together, besides the freeway itself, is Chris Hemsworth’s Mike Davis, a professional thief preparing his latest score. The devil is in the details, as Mike’s meticulous nature has made him the expert he is. Scenes of him scraping dead skin cells and shedding excess hair underscore a man bound by a code: he is in, he is out, and no one gets hurt. Mike’s ambition to reach a certain amount and leave this life is ultimately tied to a series of jobs that pay out getaway money. The film continually asks whether one can ever stray from a life of crime and how much is enough before you’re ready to walk away.
Hemsworth’s character essentially functions as a diet-Mann protagonist. Mike is Neil McCaulney, with a case of the yips and slightly inept at reading social cues, particularly from women. His traumatic past, withheld for much of the film, lends a mysterious aura to moments of blandness. An underlying anxiety, evident especially after the film’s opening sequence, contrasts with the stoic displays of masculinity typical of this type of character. Hemsworth brings the intensity, occasionally tapping into a Winslow-esque charm that is scarce in this adaptation. Most of the film’s personality derives from Mark Ruffalo’s Detective Lou Lubesnick. Lou, a down-and-out detective facing marital problems and a spiraling reputation within his precinct, is the only person convinced the robberies are connected to a single suspect as he notices Mike’s consistent use of the 101 Freeway. Even when Lou resembles a discount Vincent Hanna, Ruffalo balances slouchiness and earnestness, making him an adversary worthy of Mike’s skill set.
Halle Berry delivers some of her best work here in almost a decade, at least since “John Wick: Chapter 3 – Parabellum.” Sharon Colvin, an insurance broker for some of the wealthiest and most unpleasant clients in Los Angeles, fights not only for partnership at her firm but also for personal fulfillment. Constantly disrespected by her coworkers, she questions whether her efforts are worth it. Opportunities for someone like Sharon are few, unintentionally mirroring Berry’s own career, both as a trailblazer and in her current professional stage. These struggles lead her to encounter Mike, who attempts to recruit someone on the inside to change both of their lives.
The internal conflicts are the most compelling aspects that Layton expands upon from Winslow’s work. Lou’s moral battle within his department’s bureaucracy, Mike’s struggle to leave crime behind, and Sharon’s fight for recognition add layers to these characters beyond the typical heist thriller. These elements help elevate “Crime 101,” even if only sporadically. What stands out as a weaker element is Barry Keoghan’s chaos agent, Ormon, an up-and-coming thief hired to swipe Mike’s payday. Ormon, an inverse of everything Mike represents, exhibits erratic energy amplified by Keoghan’s exaggerated performance, making him more a nuisance than a compelling foil. The scenes involving Ormon and Mike’s shared handler, Money, played by Nick Nolte, are the film’s most trite elements. However, they allow Layton to implement flashier techniques, such as a mid-film chase sequence involving Ormon’s motorbike.
Time spent on Ormon stalking Mike and his contacts could have better enriched Mike’s relationships, particularly with Monica Barbaro’s Maya, a thinly sketched romantic interest. Despite Barbaro’s efforts, the chemistry with Hemsworth is minimal, and Maya feels underdeveloped. Layton still generates sufficient enough intensity from Hemsworth, the action sequences, and overall vibe to engage audiences. Set pieces are satisfying but scattered, especially after the film’s opening moments, as the story focuses more on character-driven drama and moral choices than on action. Layton’s direction is precise, seamlessly transitioning between characters thanks to Jacob Secher Schulsinger and Julian Hart’s efficient editing. Even when the film feels overlong, the creative team maintains smooth control over the overall pacing.
Outside of these observations, “Crime 101” delivers as expected, even with added visuals of the leading men moping as they stare out at the ocean from a waterfront property. Among the many films influenced by Mann, there must be a distinguishing element. Even something like “Den of Thieves,” also released around this time last year, transcended repetitive subgenre conventions. “Crime 101” does not entirely achieve this freedom, feeling somewhat settled in its identity and place. With a clean resolution, it accomplishes its primary goals. It is entertaining at times, and Layton’s strong direction signals a readiness for more ambitious projects within Hollywood. Many films like this may exist, and many more will certainly follow. But Layton’s attempts to differentiate this particular crime film will leave audiences with enough worthy moments to linger on, even if the overall impact is modest.
