By Keith Walther | Rose Law Group Reporter
If you miss the 1990’s heist style thrillers, then this is the movie for you. “Crime 101” serves as a nice reminder that this type of Hollywood film can still be made and made very well. An all-star cast, superb dialogue writing, and a riveting storyline combine to create a worthwhile, entertaining production.
A string of high-end robberies in Los Angeles by a meticulous thief named Mike Davis (Chris Hemsworth) has Detective Lou Lubesnick (Mark Ruffalo) convinced that they’re all connected. Despite Davis’ careful planning and attention to detail, his honorable code of never harming anyone during his heists creates a faint lead that draws the detective closer. Still, Davis can’t resist a lucrative score from an insurance broker named Sharon (Halle Berry) that would allow him to finally walk away from this life. Pursued by not only the police, but Davis must also deal with his handler Money (Nick Nolte), who becomes suspicious of Davis’ motives, sending a less honorable thief, Ormon (Barry Keoghan), after him. The stakes couldn’t be higher as the game of cat and mouse runs its course that could have lethal consequences.
For writer/director Bart Layton, this is an ode to 90’s crime thrillers, particularly Michael Mann’s “Heat.” Layton follows the tried-and-true formula associated with having a criminal as the protagonist, starting the film with an intense robbery featuring the main character having redeemable traits despite his criminal nature. Then Layton delves into the players, introducing multiple layers and depth, while building towards that ultimate heist and payoff. This format may not be particularly creative, but Layton’s execution is on point, holding viewers’ attention from start to finish with his commitment to storytelling. His only potential misstep may be the ending, which many may find to be too neat and a bit far-fetched that doesn’t quite fulfill the promise of the tension buildup.
While the plot structure may be simple and straightforward, Layton uses the dialogue to introduce complexities that titillate the brain. There is a lot of subtext of what is being said without being said, creating rewarding opportunities for viewers to read between the lines. The first scene between Chris Hemsworth and Mark Ruffalo in a car together is one such pivotal moment that captures this element as both characters wage a mental tug of war. Layton encourages further brain stimulation by continuously challenging viewers’ moral and ethical sensibilities by highlighting key scenes for each main character that force the audience to think about what they would do in a similar situation. This is what keeps the film alive long after the end credits roll, fostering interesting conversations about moral and ethical ambiguities.
Like the plot structure, Layton’s visual style is similar to Michael Mann’s, incorporating an immersive, nocturnal feel using various traffic lights to give L.A. that neon-lit type of vibe. In this way, he combines intentional nostalgia with a modern story. Complementing this classic atmospheric is the musical score with an electronic, almost pulsating beat to match the high-stakes nature of this thriller.
When watching this film, it is easy to forget that Chris Hemsworth and Mark Ruffalo have done multiple MCU projects together as Thor and Hulk respectively, but that is how immersed in their characters they become. Hemsworth, with his natural charisma, easily sells his character as a likable criminal with his honor code. Even his flaws are endearing like his social awkwardness and uneasiness when his character strives for a romantic entanglement, constantly fidgeting and averting his gaze to avoid eye contact. Ruffalo also dials up the likability factor as the rogue detective admonished by his department for his gut instinct and seemingly wild theories. It definitely messes with the audience a bit as they struggle internally to decide who they want to come out of this on top.
The rest of the supporting cast is stacked with Oscar nominees Nick Nolte and Jennifer Jason Leigh, and Oscar winner Halle Berry, but it is Oscar nominee Barry Keoghan who steals the show as he is known to do. Barry is one of those raw talented actors with a kinetic energy that is unpredictable and exhilarating. He avoids over-rehearsing his scenes, preferring to feel and react in the moment, giving these scenes a more authentic feel. For instance, there’s a fight scene between him and Hemsworth where Barry bites Chris’ hand, which was not scripted, but it’s these subtle moments of unpredictability that give his character an aura of danger.
“Heat” is still very much the gold standard for these types of crime thrillers, but it’s nice to see this throwback style in theaters once more and executed so well. “Crime 101” scratches that itch, providing a satisfyingly entertaining experience while respecting audiences’ intelligence. This is a caper designed with theatrical audiences in mind and is best enjoyed on the big screen.
This movie earns:
