Crime 101 review: An attractive, slow-moving drama
‘Crime 101’ begins and ends with a diamond heist, interweaving unrelated characters from different walks of life.
There are circumstances in people’s lives they cannot control. Where or who they are born to is the first lesson in powerlessness. Whether in poverty or wealth, love or hate, war or peace, there is little to no agency in those early years. Yet, they will inevitably inform the rest of your life. Later on, people in power hold your fate in their hands. Determining your own path can feel impossible without breaking some rules. In Crime 101, a group of people are drawn together as they try to overcome their lots in life.
Mike Davis (Chris Hemsworth) is a high-end thief. He carries out precision robberies worth millions. No one gets hurt and he leaves no trace behind. His employer (Nick Nolte) also works with Ormon (Barry Keoghan), who takes the opposite approach. He’s erratic and violent, relying on force to make up for his lack of organization. Lou (Mark Ruffalo) is an L.A. detective with an unpopular theory that links these thefts. He knows he’s close to solving the case, but his superior thinks he’s wasting everyone’s time. Then there’s Sharon (Halle Berry), who works for a company that insures L.A.’s wealthiest elites. Yet, in spite of years of dedication and success, her firm refuses to recognize her contributions. Now, all these divergent characters will cross paths.
Writer-director Bart Layton is heavily influenced by Michael Mann’s Heat (1995). The film similarly tells parallel stories, following criminals, police and unsuspecting targets as their worlds intersect. The narrative unfolds slowly and deliberately, revealing the characters’ personalities. The introductions to each person emphasizes the differences in their lifestyles. Mike is meticulous, methodical and unmaterialistic. Sharon exudes luxury and confidence at the expense of her well-being based on her sleep score and obsession with clean living. Lou, on the other hand, is their opposite in his ill-fitting suit and old, unsightly car.
The film is a reflection of L.A. culture and its obsession with appearances. Beachfront properties, million-dollar diamonds, fancy cars and art for value’s sake decorate every aspect of the story. Mike and Sharon wear masks, projecting charismatic, self-assured, false versions of themselves to influence people as needed. Consequently, there’s also a strong sense of distrust amongst all the characters. Notably, certain people try to offset the stress of a superficial lifestyle with health trends, like yoga and meditation.
The prominent cast is one of the film’s most attractive assets, literally and figuratively. Berry’s character represents the persistent devaluation of aging women in the workforce. In spite of her business success and obvious desirability, her chauvinistic employers only see her age. Sharon hits the same glass ceiling so many women encounter at the executive level, which is ironic considering Berry’s advocacy for equal pay in the entertainment industry. Unfortunately, there’s one scene in which her strength uncharacteristically falters and viewers may wish she embraced more of her anger.
Hemsworth also plays against type. When Mike isn’t assertively conducting a robbery or charming his next mark, he retreats into himself. A challenging start in life clearly stunted his ability to connect with people and created a desperate need for financial stability. Thus, Mike’s lack of confidence manifests in a difficulty to make eye contact and generally saying very little. It’s an unusual role for the larger-than-life Marvel superhero, but Hemsworth embraces the challenge and wears uncomfortability convincingly.
The part is less of a stretch for Ruffalo who once again takes on the role of a lawman. He’s a good cop that still believes justice matters more than quotas. But the job hasn’t hardened him — Lou is actually a bit of a softy. Likewise, Keoghan excels at being unpredictable. In spite of knowing almost nothing about Ormon, he is the most interesting person on the screen at any moment. As an actor, he has an acute ability to be both frightening and vulnerable in the same breath. Audiences feel sorry for the young man being manoeuvered like a pawn, but are also weary of his volatility.
Layton’s familiarity with the heist genre allows him to subvert some of its conventions. He strives to present characters who are flawed and relatable. Audiences can understand their frustrations and goals, even if they don’t approve of their methods. The filmmaker also understands how a well-placed car chase can energize a narrative. Regrettably, it doesn’t fully solve the pacing issues. The film feels too long, which weakens an otherwise engaging crime drama.
Director: Bart Layton
Starring: Chris Hemsworth, Mark Ruffalo and Halle Berry
