Mark Ruffalo, Chris Hemsworth
Review by Brad Balfour Arts Ediyot
Film: “Crime 101”
Director: Bart Layton
Cast: Chris Hemsworth, Mark Ruffalo, Barry Keoghan, Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, Nick Nolte, Halle Berry, Tate Donovan
Too many times, crime films try hard to be different while remaining within the genre’s confines. Some directors believe that developing a movie with complicated, even labyrinthine plot points or subplots that don’t necessarily add anything to the story or resolve themselves makes the movie a unique proposition. As written and directed by Bart Layton, “Crime 101” does something similar. Yet by the time the film ends, it pulls together most of the convolutions into something of a satisfying ending.
Certainly, this heist thriller demonstrates the director’s many ambitions. And given its source material — author Don Winslow’s 2020 novella of the same name — it’s no wonder. With Winslow’s experience in the late ‘80s as a private investigator, the author had accumulated lots of great source material which lends his deft novels an authenticity that’s been effectively transferred to film. Screenwriter Eric Roth, who was developing another of Winslow’s books for the screen, gave Robert De Niro the novelist’s book (“I Heard You Paint Houses”) to read for research. The legendary actor became so enthralled with it that he and Scorsese ended up adapting it into a great film, “The Irishman.” Clearly, something authored by Winslow makes for a great starting point.
The film’s twisty, complex storyline connects its parts in surprising ways. Layton takes advantage of a stellar cast to finesse it throughout. Chris Hemsworth, as accomplished thief Mike Davis, plays his character with a combination of sturdiness and anxiousness –– a conundrum that such a career path would likely engender.
The film begins with a scene that establishes what an effective jewel thief Mike has been with his heists taking place along the 101 freeway. Although he has baffled police, Los Angeles detective Lou Lubesnick is undeterred as he pursues the elusive thief by developing a detailed profile of his crimes.
As Mike’s nemesis, Lubesnick (the excellent Mark Ruffalo) tracks him and tries to establish his modus operandi. The scruffy officer (looking something like Colombo) believes he has cracked Mike’s pattern and is determined to bring him down before the next job. He tries to get the other detectives in his division –– like his erstwhile partner, Detective Tillman (Corey Hawkins) –– to join in his efforts. Yet no member of the team really gives him his due, more concerned with arrest numbers rather actual crime solving.
When Davis sets his sights on the ultimate score, his plans intersect with those of Sharon Colvin (Halle Berry who makes a great return to the screen.) She plays a disenchanted insurance broker/adjuster who is cajoled into helping Mike accomplish the score of his life.
But thanks to a betrayal by his fence, Money (Nick Nolte), Mike has the deranged and manic Ormon (actor Barry Keoghan at his most jacked up) on his ass. This young criminal is sent to nip at Mike’s heels and ultimately to eliminate him while hijacking his heist.
The film features not only a top-flight main cast but also a great ensemble of actors who add cinematic depth to the narrative. As Maya, Monica Barbaro (who had played Joan Baez to much acclaim) becomes a tentative love interest for the secretive thief. Jennifer Jason Leigh is Angie, Lou’s ex-wife, who establishes in one scene some important background as to who he is — or isn’t. And there’s Tate Donovan playing billionaire Steven Monroe — the target of the heist.
Into the mix comes the city of Los Angeles as another character to serve the narrative. Ultimately, writer/director Layton made a film where none of the characters have much of a moral compass, except perhaps the thief and the detective pursuing him, though even that is debatable. Because Layton loves his characters almost too much, he allows them much latitude to improve — except for the depraved Ormon.
As the film resolves itself, Layton gives the main characters a pass, maybe because there’s lots of room for a sequel. Or maybe it’s just because he likes what his actors have been able to turn them into.