Crime 101 | CineScope

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Crime 101 | CineScope

“Davis” (Chris Hemsworth) is one of those rare breeds of thieves. He has scruples about violence and so always wants to avoid hurting those whom he robs. It’s a sound policy as usually it is the couriers he is relieving of their diamonds, or watches, or jewels. His latest job didn’t quite go to plan, though, and feeling a bit unnerved he tells his ageing fence “Money” (Nick Nolte) that he wants out. He's not the kind of man to let the job go unfinished, so drafts in his far less scrupulous pal “Ormon” (Barry Keoghan) who is about as subtle as an air raid. When “Davis” hears of the robbery, he confronts “Money” and that’s when the wheels of his well oiled machine begin to come off as the motor-cycling “Ormon” is instructed to turn his attentions on our now disillusioned thief. Meantime, insurance underwriter “Sharon” (Halle Berry) is fed up slaving away under a glass ceiling for her bosses who won’t make her a partner, and so is a ripe target for “Davis” as he continues to plan for his retirement. The question is, can he turn her allegiance to his own advantage and perhaps give her an opportunity to fleece her latest, and most odious, client “Monroe” (Tate Donovan)? “Lou” (Mark Ruffalo) is the cop charged with trying to make headway investigating the robberies and it’s him who concludes that route 101 is crucial to the pattern and that his perpetrator is no ordinary thug. Scene set, what plays out now is a really quite disappointing drama that focuses too much on the characters and not enough on the mischievous intrigues and execution of the heists until the last ten minutes, when it finally comes alive a little. Hemsworth looks the part but doesn’t really embrace it; Berry could have had more of the game but her part is left sadly undercooked; Keoghan just sticks to his tried and tested borderline maniacal role, only this time with dyed blonde hair, and finally there is Ruffalo who could have made for a more formidable foil for Hemsworth had their duel of wits been allowed more prominence. It does look good with Hemsworth looking every inch as if he’d stepped directly out from one of his many luxury goods adverts, but the remainder makes for a routinely charisma-free, car-chase crime caper that I shall never remember. Pity.

B

Brent Marchant

TMDB User•Feb 22, 2026

★ 7

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.

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