Crime 101, 2026.
Written and Directed by Bart Layton.
Starring Chris Hemsworth, Halle Berry, Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, Nick Nolte, Tate Donovan, Devon Bostick, Paul Adelstein, Matthew Del Negro, Deborah Hedwall, Drew Powell, Babak Tafti, Payman Maadi, Payam Banifaz, Crosby Fitzgerald, Patrick Mulvey, Hossein Mardani, Norman Lehnert, Andra Nechita, Ilka Urbach, Ava de Winter, Dan Perrault, Andrew Ashford, Sean O’Bryan, Tory Freeth, Hanako Footman, Ben Sharples, and John Douglas.
SYNOPSIS:
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.
Sorry to burst anyone’s bubble, but writer/director Bart Layton’s Crime 101 will not give you in-depth lectures on how to get away with various crimes. The number actually refers to the infamous Los Angeles highway, serving as a reliable getaway route. Furthermore, while the narrative (based on Don Winslow’s novella) does involve some serial thievery and a couple of diamond heists, along with high-octane action sequences, the film has more on its mind than crime and thrills, with mostly exciting results. Following the intersecting lives of several characters entangled in crime for one reason or another (whether it be enacting them, investigating them for justice, or being tempted by them), this is a character-driven story about broken people, stuck and facing different types of crises.
There is Davis (Chris Hemsworth), a perfectionist thief who uses a hacker’s help to intercept and steal valuable information, all while staying undetected. His golden rule is to never actually hurt, despite typical threats of a partner waiting outside their home. It is evident that he has some unknown noble reason for stealing from the filthy rich, coming across as a kind soul deep down, albeit a deeply awkward one that is so troubled he is incapable of enjoying simple pleasures whether it be hiring a sex worker (something he seems more peer pressured into believing is a solid way to unwind) or dancing to Bruce Springsteen. The latter makes for a moving scene as publicist love interest Maya (Monica Barbaro) eases him into it, and generally tries to show him how to act more human while being sensitive to whatever tragic past has left him this way.
Davis is also nearing the finale of his career criminal lifestyle, which his handler Money (Nick Nolte) isn’t happy about, causing him to employ a loose cannon replacement named Ormon (Barry Keoghan in full twitchy lunatic mode), a psychopath who appears ready to carry out any sadistic act on command to get in spiritual touch with his father, who was apparently just as heartlessly cruel. As such, Ormon is tasked with a jewelry store robbery that Davis assures cannot be carried out without hurting someone. This means that once the nut job goes through with it, the details of the heist break a pattern mid-life crisis suffering and case-obsessed Detective Lou (Mark Ruffalo), working the string of robberies alongside his partner Tillman (Corey Hawkins), has put together in trying to crack it and identify the thief.
Also orbiting the story is Sharon (Halle Berry), a sleep-deprived insurance agent for shady, wealthy clients, skilled at reading more than her seedy clients would like her to know, so she can write up a foolproof clause protecting their ignorant asses from any wrongdoing. The owner of a jewelry store also gets caught up in this mess after Davis intercepts one of his couriers transporting millions in diamonds.
Considering that no one in this story is actually living a fulfilling life, the film becomes a work of fascinating juxtapositions, often expressed through seamless editing by Julian Hart and Jacob Schulsinger as they switch between character perspectives. Upside-down overhead shots of the city also reflect the confusion and brokenness of these characters. From the expert criminal to the strung-out detective trying to mail him to a mistreated insurance claims worker screwed over by her boss countless times, no one is happy. For reasons that won’t be spoiled, Davis isn’t comfortable enough to tell Maya about his personal life or what he really does, claiming he works in software design. Meanwhile, other characters trying to play by the rules are tempted by crime to see if the grass is greener on the other side.
The only issue is that nearly every character here feels underdeveloped, and revelations about some of them never reach satisfying closure. Davis’ past is vaguely put into perspective, Ormon is flat out crazy simply because the movie calls for it without ever really giving an understanding of his relationship to his father, Money disappears entirely, as do some other characters, and Lou is the clichéd workaholic detective willing to put his life on the line to solve the case. For as intriguing as the drama and these characters are, Crime 101 admittedly falls short of its ambitions, but it is consistently elevated by an all-star cast and solid filmmaking from Bart Layton, including spectacular, palpably dangerous, riveting, and practically accomplished car chases punctuated by violent showdowns. There is just enough crime and substance to make it work.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
