Crime 101: Hemsworth Heist Thriller Draws Michael Mann Comparison Ahead of Release
Crime 101, the Los Angeles-set heist picture from director Bart Layton, arrives in the US and UK on February 13 (ET) following a February 12 (ET) opening in Australia. The film, adapted from a Don Winslow novella and headlined by Chris Hemsworth, has prompted early critical discussion for its cinematic style, high-stakes robbery sequences and performances that elevate familiar crime-thriller ingredients.
Critics praise style and performances, flag familiar beats
Early responses emphasize the movie’s sleek visual approach and tightly choreographed set pieces. Hemsworth’s portrayal of Mike — a meticulous jewel thief who targets stores along Route 101 — is singled out for its controlled charisma. Reviewers note he plays a character who is outwardly composed and inwardly conflicted, a thief who prefers precision over violence and who increasingly questions his life of crime.
Supporting performances draw positive notice as well. Mark Ruffalo’s LAPD detective is cast as a dogged, morally steady investigator who admires the criminal he pursues, while Halle Berry’s insurance agent becomes an unwitting pivot between the two men. Nick Nolte’s mentorship figure and Barry Keoghan’s impulsive upstart add generational texture and internal tension to the crew dynamic.
Many commentators have invoked the aesthetic of Michael Mann when describing the film’s nighttime cityscapes, sun-drenched coastal frames and sleek vehicular choreography. Those comparisons are most often framed as stylistic kinship rather than imitation: the film borrows Mann-like elements while stopping short of full homage, trading the director’s broad orchestral sweep for a leaner, high-octane pulse.
Strengths and shortcomings: moral stakes and logistical quirks
While the film’s technical craft and lead performances win broad approval, critics also point to weaknesses. The movie’s attempt at social commentary—brief depictions of homelessness and urban displacement—register as cursory in several reviews rather than fully integrated narrative concerns. That sense of surface-level engagement leaves some thematic threads underexplored.
Plot logic has drawn scrutiny in places as well. The central conceit of attacks staged along Route 101 to enable quick getaways prompts questions about practicality given Los Angeles traffic realities. A few sequences require viewers to accept convenient blind spots or compressed odds to preserve dramatic momentum, and some reviewers flagged these stretches as strains on credibility even as they acknowledged the pleasures of the film’s set-piece design.
Despite such reservations, the film’s opening heist sequence and the growing moral unease of its protagonist keep the story propulsive. Hemsworth’s Mike evolves from a surgical technician of theft into a figure confronting the costs of one last job, and that internal reckoning is credited with giving the movie its emotional anchor.
What audiences should expect
Crime 101 is being presented as a glossy, brisk heist thriller with an emphasis on craft and atmosphere. Viewers inclined toward stylish crime dramas and character-driven cat-and-mouse games are likely to find it satisfying. Those seeking deep social critique or tightly realistic logistics may come away wanting more.
As the film reaches cinemas this week — February 12 (ET) in Australia and February 13 (ET) in the US and UK — attention will turn to audience reaction and box-office traction. For now, the consensus frames the picture as an enjoyable, moody exercise in high-stakes robbery that trades some thematic depth for cinematic polish and star-driven tension.
