After an eight-year hiatus, director Bart Layton is back on the silver screen, making his triumphant return with “Crime 101.”
The high-speed thriller is spearheaded by three protagonists and begins with three distinct storylines that eventually converge into one. These storylines center around elusive and high-profile thief Mike (Chris Hemsworth), detective Lou (Mark Ruffalo) and insurance saleswoman Sharon (Halle Berry).
Their paths cross when Mike offers Sharon an opportunity to get back at her colleagues who denied her a promised promotion. Sharon then confides in Lou about Mike’s proposition and history as a thief, which leads Lou to the conclusion that Mike is the culprit of the slew of robberies occurring on the 101 Freeway.
The audience is dropped right in the middle of the action, opening with a meditative voiceover that quickly morphs into a jewelry heist and speedy getaway by Mike. This scene is crucial in establishing Mike as a nonviolent wrongdoer and the stark contrast between Mike and rival thief Ormon (Barry Keoghan).
Filming a heist is nothing new for Layton. His last film, “American Animals,” was based on the true story of four men who conspired to steal a book from their university’s library. With “Crime 101,” Layton perfects his depiction of heists with eye-catching and dramatic camerawork.
Layton uses camerawork to highlight the dichotomy between Mike and Ormon. Unlike Mike, Ormon has no trouble using violence, both necessary and unnecessary. Layton conveys Ormon’s violent nature through shaky, erratic shots that force the audience to pay close attention to every jolt.
In Ormon’s first robbery scene, the camera pans from the door to the jewelry case to a closet, all in quick succession. The audience never knows where the camera will go next, mirroring Ormon’s unpredictability and lack of foresight.
Conversely, scenes featuring Mike were streamlined and steadily shot, aligning with Mike’s calm demeanor and intricately planned heists. Even in more tense situations, like the final stand-off, the camera only jostles when Ormon storms onto the scene.
The score also aided in framing the film’s quick-paced tone. Blanck Mass, the composer, heavily utilizes musical stings whenever things begin to go askew for the main characters, emphasizing moments of drama and importance. An issue soon arises with this form of signaling, however, because almost every scene in “Crime 101” involves something going awry, and at a certain point, the stings become more annoyance than aid.
The dramatic score lightens toward the film’s end as its tone shifts from one shrouded in darkness and anxiety to one symbolizing renewal. The three main characters gradually start to leave the events of the film behind and look forward to new beginnings. The softer instrumentals delicately concluded the film, a far cry from how it began.
“Crime 101” had me on the edge of my seat the entire time. From its jumpy cuts to its hair-raising score, it is an anxious but enthralling film from start to finish.
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