Crime 101 Review - A crime caper haunted by the ghost of Michael Mann

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“You got to know when to hold ‘em, know when to fold ‘em, know when to walk away and know when to run.” – Kenny Rogers 

Homage can act as a love letter. As they say, "Imitation is the sincerest form of flattery." As with all things, there is a fine line between sincerity and insincerity. Even if well-intentioned, a lack of originality in a film’s story—whether in the plot itself or from a more visual perspective—means the audience can pick up on falsities like inorganic dialogue or haphazard editing. There is a delicate balance between pulling from what you know and finding your own voice. Movies, at their most basic and stripped down, are about the stories we tell and how we tell them. Even if your story is rooted in truth, if you tell it in a way that someone else might envision it, it may as well not be your story or a story in your charge.

Crime 101 has plenty of merit, but it frequently dissolves into the identity of the masterpieces it mimics—specifically Heat and Collateral, two films director Bart Layton is clearly intent on eulogizing. Instead of finding inspiration on the screen, I see only the remnants of better films. With the exception of Hemsworth and Berry, the characters feel all-too-familiar—clichéd and weary. The most glaring example is Mark Ruffalo; normally a highlight of any ensemble, he carries on here with little identity beyond the thousand other iterations of the burnt-out detective. He is the archetypal hunter who finds his only purpose in the criminals he chases, leaving a neglected marriage on the precipice of divorce in his wake. Ultimately, he feels like a less enthusiastic, far less interesting shadow of Heat’s Vincent Hanna.

This will not be the last time I mention Michael Mann’s work, and that is Crime 101’s greatest cinematic sin: a lack of identity. Instead of seeing what this film brings to the proverbial table, I see only what others have done with superior execution. It reminds me of last year’s release of Shelby Oaks; while Chris Stuckmann’s technique was undeniable, his own voice never truly pierced through the genre influences.

Similarly, Crime 101 strives to be the next classic crime caper by emulating 70s-inspired greats like Heat, but it forgets that a master like Mann knows exactly when to call back to the classics and when to tread his own path. Layton’s film never reaches that imperative pivot point where the writing should divert expectations; instead, it settles for giving us more of what we have already seen.

The film’s true pulse resides in the performances of Chris Hemsworth and Halle Berry, who both fight to keep their characters in their own charge despite the script’s derivative gravity. Hemsworth is magnetic, avoiding a mere Robert De Niro 'cover' by leaning into a tactile, charismatic professionalism. Berry is equally sharp; she crafts a formidable, intelligent woman who clearly recognizes the unique traps of corporate America—particularly the glass ceilings and systemic biases she navigates with a weary, knowing precision. It is a performance that demands more real estate than the film allows. Unfortunately, she remains criminally underutilized, relegated to a third-act catalyst rather than a driving force allowed to truly clash and coalesce with Hemsworth’s lead. It’s a missed opportunity to see two vital voices find a new path together, rather than being sidelined by a plot that prefers to stick to the map of its inspirations.

Authenticity is something only location shooting can provide; it is a quality no soundstage or stand-in can mimic. Mann’s affection for Los Angeles is evident in every frame, whether he is capturing the shimmer of the skyline or the industrialized grime of a neglected neighborhood. He makes the city so vital to the narrative that suggesting any other location would feel disingenuous. Crime 101 doesn’t necessarily miss this piece, but it fails to showcase it in any meaningful way. The shots of a listless ocean or a common freeway scream 'city' as an abstract concept, rather than 'The City of Los Angeles' as a living, breathing character.

This lack of identity ultimately poisons the film’s climax. For a story that meticulously builds toward a high-stakes heist—constantly inviting comparisons to the operatic scale of its predecessors—the finale feels startlingly small. It culminates in a hotel room standoff that is less of an explosion and more of a narrative shrug; a 'blink and you miss it' moment that is over before it ever really begins. After hours of simmering tension, the confrontation lacks the kinetic energy or the essential 'meeting of the minds' required to make such a trope feel earned. It feels anti-climactic not because it lacks action, but because it lacks the soul a filmmaker in full charge of their story would have provided. In trying to recreate the silhouette of a masterpiece, Layton forgets to give his own ending the substance to stand on its own.

Ultimately, Crime 101 is a handsome, well-constructed heist film that simply lacks the courage to find its own voice. While it is undeniably hindered by its derivative nature—falling into the trap of telling a story already perfected by the masters—it is by no means a failure. The film earns a recommendation largely on the backs of its leads; Chris Hemsworth provides a magnetic anchor of professionalism, and Halle Berry offers a glimpse of a sharper, more modern film that deserved more breathing room. If you can look past the recycled tropes and the generic Los Angeles backdrop, there is still a sturdy, old-school thriller here worth your time. It may not be a story in its own charge, but as a high-quality echo of the classics, it still manages to hit enough of the right notes to justify a seat in the theater.

Rated R For: language throughout, some violence and sexual material/nudity

Runtime: 139 minutes

After Credits Scene: No

Genre: Crime, Drama, Thriller

Starring: Chris Hemsworth, Halle Berry, Mark Ruffalo, Barry Keoghan

Directed By: Bart Layton

Out of 10

Story: 7/ Acting: 8/ Directing: 6/ Visuals: 6

OVERALL: 6.5/10

Buy to Own: Yes

While its identity crisis is undeniable, the technical polish and the magnetism of the leads suggest a film that may reward repeat viewings. It’s a sturdy addition to any crime thriller collection—one that might just find its own voice once it's out from under the shadow of the theater experience.

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Check out the trailer below: