Noir-thriller Crime 101 held together by Chris Hemsworth’s spotty accent
Courtesy of Amazon MGM Studios
The rights to turn Don Winslow’s thrilling novella Crime 101 into a motion picture were won by Amazon MGM Studio – they made sure to throw all the bells and whistles at the movie. The studio’s A-list actor random name generator (which I like to assume is a real thing) spit out Thor, Cat Woman, the Hulk, and Sabrina Carpenter’s ex. Bart Layton manages to make good of that ragtag group of pure Hollywood talent on the background of a tropey, contemporary crime noir. The colors are deep and moody, the protagonists are conflicted, and it leaves you wanting to do donuts in an empty parking lot.
The film builds slowly from a morning meditation voiceover to weaving through the lives of four main characters. Mike Davis (Chris Hemsworth) is a master thief with a conscience who always has one foot out the door. Sharon Coombs (Halle Berry) is a no-nonsense insurance broker who has been pushed around for too long. Lou Lubesnick (Mark Ruffalo) is the grizzled detective hanging on tight to his morals. Ormon (Barry Keoghan) is the violent wild card. These stories intertwine, culminating in one last job. Will the detective get his white whale? Good thing you have 144 minutes to think about it.
This movie revolves around the 101 in Los Angeles, and it begins to inherit its characteristics, whether that be the dramatically slow pacing or the way it lets your thoughts race; the film finds a way to emulate the stop-and-go of traffic. There is inherent tension in waiting for forward movement. The brief moment when the traffic clears is exhilarating. You speed a bit too fast to make up for lost time, only to be stymied by another halting patch. A painstakingly executed heist, followed by a smash and grab robbery – wonderful. Watching Hemsworth act socially awkward–less wonderful. I don’t buy it, Chris, you’re too attractive not to be charming (even if that’s the point).
While Hemsworth gives a grounded performance, effective in stringing the audience along in emotional suspense, I miss his rambunctiousness. The Australian accent is begging to be let out of its cage. The sometimes rough, gravelly American accent doesn’t do the hunk justice – especially since one of my favorite roles in the past five years is his overtly Down Under Dementus.
This movie slams together on-the-nose references: the socially inept yet suave protagonist of Drive, and the top-of-their-game, cat-and-mouse routine of Heat–yet the pieces don’t seem to fit. The film presents direct homages to these contemporary counterparts (in setting, characters, and plot), but seems to lack the grittiness and identity of its predecessors. Layton shines when you are thrust into the handheld, messy action scenes – yet stays too safe for the majority of the movie. Throw some ill-timed comedic relief in there, and it feels more like jarring whiplash than smooth roads (stepmombuttsex dot com is a real joke from the movie).
Purposefully choppy racing scenes use satisfying practical effects to provide an extra punch for hit-and-runs. The narrative still delivers an effective crime noir story. Filled with tension and traffic-like pacing, Crime 101 forces you to guess what will happen next and enjoy the scenery.
Through tone roadblocks and slow-building speed bumps, this movie is for the lovers of the crime genre. The performances are refreshing, and the mood is intense; more importantly, like frustrating highway traffic, eventually, you bring it home, right where you want to be. Ultimately, if you’re willing to buckle up for a slow yet compelling ride, Crime 101 is a journey worth your time.
