For ‘Crime 101,’ the action is the juice, even if it knows ‘Heat’ too well

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Michael Mann’s 1995 film “Heat” is incredibly influential, especially for filmmakers drawn to creating similar Los Angeles-set crime dramas with intricate relationships between dedicated robbers and determined cops (like in films such as “Den of Thieves” and “Wrath of Man”). Now, British writer-director Bart Layton, known for his unique heist thriller “American Animals,” presents his own take on this formula with “Crime 101.” The film, adapted from a 2020 novella by Don Winslow, centers on a jewel thief who operates close to the 101 freeway.

The movie begins by showing our thief, Davis (Chris Hemsworth), carefully preparing for his heist – a process that’s obsessively neat, set to the calming voice of a meditation recording. This opening montage connects Davis with his targets – three diamond sellers whose elaborate security proves useless – and also introduces us to the daily lives of Lou Lubesnick (Mark Ruffalo), a somewhat messy LAPD detective, and Sharon (Halle Berry), an insurance broker who cares a lot about her appearance.

The film creates a striking contrast by playing calming meditation music during a robbery, a pattern that repeats throughout the story. This highlights the characters’ lives in a Los Angeles obsessed with wellness and their personal search for peace amidst the chaos around them. The filmmakers reinforce this idea with visual cues, like billboards advertising the phrase “Be here now.” We see Lou trying yoga and Sharon drinking green smoothies – a playful commentary on the Los Angeles lifestyle.

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“Crime 101” misses the underlying meaning entirely. Everything is stated plainly, and the conversations feel heavy-handed. The characters are so direct, it’s almost comical.

Maya, played by Monica Barbaro, is a bit like the character Eady in “Heat.” She unexpectedly enters the life of Neil McCauley (played by Hemsworth) – quite literally, by bumping into his car – and sparks a desire for a genuine connection in a normally detached man who prefers to keep to himself in his beachfront condo.

It’s easy to see the similarities between this story and the movie Heat once you start comparing characters. Lou is a dedicated, ethical police officer, much like Al Pacino’s character in Heat, and he’s struggling with issues at home – his wife leaves him while he’s at a diner because he works too much. Nick Nolte’s character, Davis’s right-hand man, plays a role similar to Jon Voight’s in Heat. When Davis hesitates after a job nearly fails, his associate passes the opportunity to a younger, more reckless character who isn’t afraid to use violence – he’s essentially the story’s version of Waingro, a wild card that really throws Davis off balance. This leads Davis to plan one final heist, bringing in a disillusioned insurance broker to help with a dangerous robbery.

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Layton creates a consistently tense atmosphere, using realistic Southern California settings, strong action scenes, and clever twists. However, the story depends too heavily on plot developments to stay interesting, and the characters’ conversations feel unnatural and lack subtlety. There’s a particularly awkward moment where Sharon’s boss (Paul Adelstein) makes blatantly ageist comments, even explicitly stating her age for emphasis.

While Chris Hemsworth is physically capable, he seems stiff and uncomfortable playing such a reserved character – it doesn’t quite suit his strengths as an actor, and he struggles to make a connection. Barry Keoghan, however, is captivating as another damaged and fragile character, managing to be both unpredictable and sympathetic. The film truly shines whenever Keoghan or Mark Ruffalo are on screen, thanks to the depth they bring to their roles. The remaining characters, unfortunately, feel either generic or strangely detached.

Layton effectively portrays certain aspects of Los Angeles – the everyday streets, shopping malls, and the city’s nighttime atmosphere. However, his focus on L.A.’s wellness scene feels underdeveloped. It’s unclear whether it’s meant to be a serious point or just a running gag, and ultimately feels superficial. There’s a missed opportunity to explore the deeper meaning of seeking comfort in trends like smoothies and spirituality. The emphasis on meditation and yoga softens the film when it needs to be tougher. The script struggles to convincingly portray Davis as a sympathetic character, and he’d be a much more compelling figure if allowed to be flawed.

While “Crime 101” drags in places with unnecessary scenes, it’s a visually impressive and generally engaging crime drama – something we don’t see much of these days. For fans of the genre, even a lesser take on a classic “Heat”-style film is still welcome.

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2026-02-12 22:01