Crime 101 Review: The Theatrical Surprise I Didn’t See Coming

This movie truly came out of nowhere.

When I first saw the trailer, I immediately assumed it was headed straight to streaming. You know the type — glossy visuals, big-name actors, vague plot, and the faint smell of “quick paycheck.” Then I found out it was getting a full theatrical release. Not only that, but it reportedly cost $90 million.

Ninety. Million. Dollars.

And suddenly the bigger question became: should major stars really take massive upfront salaries that inflate a film’s budget to near-impossible box office expectations? With an opening projected around $15 million, that’s a steep hill to climb. Maybe backend deals would’ve made this leaner, meaner, and easier to call a success.

That said… I don’t blame anyone for securing their bag. Some of these actors have put in decades of work. Still, it’s hard not to joke that this was a heist movie both on-screen and off.

Then I went to the press screening and discovered something else: the runtime is two hours and twenty minutes.

With trailers? That’s a three-hour commitment.

I braced myself.

What I got instead was one of the best surprises of the year.

A Classic Film Noir Revival

As the movie unfolded, I found myself wondering: who directed this?

There are no opening credits, so you’re dropped right into a strong, confident opening sequence. By the time the end credits rolled and Bart Layton’s name appeared — twice, as both writer and director — I had to admit: this guy knows exactly what he’s doing.

Layton, a UK filmmaker best known for American Animals (which I vaguely remembered for its stylish library sequence), delivers something bold here: a full-blown homage to Heat.

And I mean that in the best possible way.

Early on, it’s impossible not to think, “Someone has watched Heat… a lot.” But that’s not a criticism. Christopher Nolan famously built parts of his Batman trilogy off Heat. Influence isn’t theft — it’s lineage.

Originally, Pedro Pascal was reportedly attached to co-star, likely in Mark Ruffalo’s role. Had that happened, the dynamic might’ve skewed too evenly matched — two alpha leading men circling each other. Instead, the final casting leans into something even more interesting.

Layton crafts a true, old-school film noir.

Not neon noir. Not genre-bending noir.

Classic noir.

And it’s refreshing.

The Archetypes That Make It Work

If you’re a student of film, this movie is a treat.

The casting perfectly mirrors traditional noir roles:

• Chris Hemsworth as the tormented anti-hero
• Mark Ruffalo as the hardboiled detective
• Halle Berry as the femme fatale
• Monica Barbaro as the girl next door
• Barry Keoghan as the unhinged wildcard

Hollywood was once flooded with noirs in the 1940s and ’50s. Over time, the genre evolved into “neo-noir,” often twisting or subverting the formula.

But Crime 101 reminds us why those formulas existed in the first place.

They work.

It’s been so long since we’ve seen a traditional noir executed at this level that it feels almost radical.

Does the Runtime Hurt It?

Yes, it’s long.

There were moments — particularly during the romantic development between Hemsworth and Barbaro — when I briefly forgot I was watching a heist thriller. I felt like I was in a romance drama.

And then the movie snaps back with a chase, a robbery, or a tense standoff.

That ebb and flow is intentional. The slower character work earns goodwill, allowing the high-energy sequences to hit harder. Then it slows down again, building atmosphere.

Could you trim 20–30 minutes?

Probably.

Should you?

Honestly… I wouldn’t.

You’d lose character depth. You’d lose atmosphere. And this movie thrives on atmosphere — long, sweeping shots of the 101 freeway, beachfront apartments straight out of a Michael Mann dreamscape, quiet tension building between scenes.

It feels cinematic in a way streaming movies rarely do.

Performances: Thor, Hulk… and a Femme Fatale

Yes, I had the “Thor and Hulk” thought when Hemsworth and Ruffalo first shared the screen.

But it faded quickly.

Chris Hemsworth

Hemsworth delivers a surprisingly restrained, tormented performance. He plays vulnerability well here — quiet, conflicted, inward.

Interestingly, a friend of mine thought it was “career-ending bad.” I completely disagree. I found it nuanced and effective.

Also, in certain shots… he’s starting to look more like his brother Liam. It’s subtle, but it’s there.

Mark Ruffalo

Ruffalo leans into full detective mode — and yes, he absolutely resembles Peter Falk’s Columbo at times. I would pay good money to see him actually play Columbo one day.

This might be one of his stronger detective performances to date.

Halle Berry

Halle Berry is phenomenal.

She looks incredible, yes — but more importantly, she’s given a complex, layered role. There’s a monologue she delivers that felt like it should have triggered applause. You could sense the audience wanting to react.

After Monster’s Ball, this might genuinely be one of her best roles because the material finally gives her depth worthy of her talent.

Barry Keoghan

Keoghan has had a rocky stretch lately. After soaring upward, his momentum dipped. But here?

He’s electric.

Charismatic. Unpredictable. Slightly terrifying.

Watching him here almost made me reconsider his Joker potential. There’s something compelling about his chaos — even if his earlier take didn’t fully land.

Monica Barbaro

Barbaro does solid work in a somewhat thankless role. The “girl next door” archetype isn’t flashy, but it’s structurally important to noir storytelling. She handles it gracefully.

Why You Should See Crime 101 in Theaters

This is not background noise cinema.

With trailers and ads, you’re committing to a three-hour outing. But film lovers know the comfort of settling into a long, immersive movie that earns your time.

The Los Angeles setting feels lived-in and authentic — less glamorous, more grounded. The beachfront apartments, the city streets, the texture of the environment — it’s very Michael Mann-coded.

The movie moves between:

• Hypnotic
• Thrilling
• Hypnotic
• Thrilling

And that rhythm works.

It’s well thought out without being convoluted. Easy to follow, but not simplistic. Some twists you’ll see coming. Others will catch you off guard. Even the predictable moments feel deliciously satisfying when they unfold.

I gasped. I laughed. I leaned forward in my seat.

That’s theatrical filmmaking.

Final Verdict: Best Movie of the Year (So Far?)

I hesitated to say this… but yes.

Crime 101 is, at this point in the year, the best movie I’ve seen.

It’s confident. Beautifully crafted. Respectful of genre traditions without feeling stale. It doesn’t try to outsmart you — it simply tells a strong story well.

If it gets overshadowed at the box office this weekend, I hope audiences discover it later. Whether in Dolby, IMAX, or eventually on digital, it deserves attention.

This is how they used to make them.

And it still works.