“Crime 101”
(UK/USA)
Metacritic (7/10), Letterboxd (3.5/5), Imdb.com (7/10), TMDB.com (7/10), Imdb critics review
#BrentMarchant #Crime101 #heistmovie #thriller #jewelthief #LosAngeles #ChrisHemsworth #MarkRuffalo #HalleBerry #BarryKeoghan #NickNolte #MonicaBarbaro #BartLayton
It’s been said that crime doesn’t pay, but, as this notion is often portrayed in the movies, that’s only true if one gets caught. Perpetrators skilled in covering their tracks frequently manage to find a way around the law, provided, of course, that they’re truly adept at managing to stay ahead of authorities. That theory gets seriously put to the test in this third feature outing from writer-director Bart Layton, the story of a slick, enigmatic, unassuming Los Angeles jewel thief (Chris Hemsworth) who’s an expert at what he does, successfully pulling off his lucrative exploits without getting caught and without anyone getting hurt. But, in his latest job, wrinkles emerge that prompt him to reassess his circumstances (not to mention his future). These conditions uncharacteristically force him to improvise to stay ahead of those pursuing him, namely, an unconventional but insightful detective (Mark Ruffalo), an incisive insurance agent who specializes in managing the assets of wealthy clients (Halle Berry) and an undisciplined rival thief (Barry Keoghan) tapped by his partner in come (Nick Nolte) when the master criminal appears to be losing his nerve. Everyone here has a stake in how matters play out, both personally and professionally, but knowing how to proceed and who to trust become ever more complicated. In some respects, as this film’s title implies, the narrative underlying this story could arguably be seen as somewhat generic as far as heist movies are concerned. However, there are elements in play here that help to elevate this release above many others in this genre. For instance, the degree of character development is greater than what one typically finds in pictures like this, as virtually all the players here are imbued with more depth and nuance than usual. Then there are the film’s impressive production values, decidedly superior to many comparable offerings in such areas as cinematography, film editing (especially in the riveting car chases) and atmospheric background score. And, of course, the performances of the fine ensemble featured here do much to help set this release apart from its cinematic peers. Admittedly, several aspects of this production could use some shoring up, particularly in the areas of pacing (especially in the middle) and the development of a few of the picture’s less important story threads. On balance, though, “Crime 101” is a cut above what viewers might generally expect out of an offering like this, making for an enjoyable time at the movies, even if it’s not overly original or particularly innovative. But this is one release that successfully finds ways to get away with it – and there’s no crime in that.