アメリカ西海岸線を走るハイウェイ＜101＞号線で、数百万ドルの宝石が消える強盗事件が多発。４年間にも及ぶデーヴィスの犯行は一切のミスがなく完璧だったが、人生最大の大金を得るために高額商品を扱う保険会社に勤めるシャロンに接触し、共謀を持ちかけたことから思わぬ綻びを見せ始める──。
映画化された原作や関連書籍を読んで、映像との違いや独自の世界観を楽しみましょう。
製作費: $90,000,000 (135億円)
興行収入: $67,464,389 (101億円)
推定収支: $-22,535,611 (-34億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
FindKeyのエディトリアルチームがこの作品の深層や歴史を解説しています。
監督: バート・レイトン
制作: ベンジャミン・グレイソン / ジョエリー・フェザー / デリン・シュレジンガー
撮影監督: Erik Wilson
制作会社: Working Title Films / The Story Factory / RAW / Amazon MGM Studios / Wild State
Full review: https://movieswetextedabout.com/crime-101-movie-review-chris-hemsworth-and-mark-ruffalo-anchor-a-heat-lite-crime-thriller/ Rating: B "Crime 101 asserts itself as a solid and extremely competent crime thriller that, while not reaching the same thematic depths or cultural impact of the classics it's inspired by, offers high-level entertainment sustained by a luxury cast and irreproachable technical execution. By balancing the tension of expert editing with the humanity of its performances, Bart Layton delivers a movie that values the intelligence of viewers and the dignity of its characters. It's a film that celebrates the professionalism and persistence of the human spirit, reminding us that in a world plunged into chaos, there's a unique beauty in the precision of those who know the rules of the game and know when to follow or break them to do what's right."
“Davis” (Chris Hemsworth) is one of those rare breeds of thieves. He has scruples about violence and so always wants to avoid hurting those whom he robs. It’s a sound policy as usually it is the couriers he is relieving of their diamonds, or watches, or jewels. His latest job didn’t quite go to plan, though, and feeling a bit unnerved he tells his ageing fence “Money” (Nick Nolte) that he wants out. He's not the kind of man to let the job go unfinished, so drafts in his far less scrupulous pal “Ormon” (Barry Keoghan) who is about as subtle as an air raid. When “Davis” hears of the robbery, he confronts “Money” and that’s when the wheels of his well oiled machine begin to come off as the motor-cycling “Ormon” is instructed to turn his attentions on our now disillusioned thief. Meantime, insurance underwriter “Sharon” (Halle Berry) is fed up slaving away under a glass ceiling for her bosses who won’t make her a partner, and so is a ripe target for “Davis” as he continues to plan for his retirement. The question is, can he turn her allegiance to his own advantage and perhaps give her an opportunity to fleece her latest, and most odious, client “Monroe” (Tate Donovan)? “Lou” (Mark Ruffalo) is the cop charged with trying to make headway investigating the robberies and it’s him who concludes that route 101 is crucial to the pattern and that his perpetrator is no ordinary thug. Scene set, what plays out now is a really quite disappointing drama that focuses too much on the characters and not enough on the mischievous intrigues and execution of the heists until the last ten minutes, when it finally comes alive a little. Hemsworth looks the part but doesn’t really embrace it; Berry could have had more of the game but her part is left sadly undercooked; Keoghan just sticks to his tried and tested borderline maniacal role, only this time with dyed blonde hair, and finally there is Ruffalo who could have made for a more formidable foil for Hemsworth had their duel of wits been allowed more prominence. It does look good with Hemsworth looking every inch as if he’d stepped directly out from one of his many luxury goods adverts, but the remainder makes for a routinely charisma-free, car-chase crime caper that I shall never remember. Pity.
The aptly named "Crime 101" looks a lot like any by the numbers entry-level script for an action crime drama/thriller. There's exactly nothing new on offer here. Unless you are 100% new to the genre, this film will feel overly familiar, tired, predictable and ultimately clichéd. Dropping in a cast of well-known faces does nothing to fix the lack of originality on offer here. I managed a little over half of this flick before remembering I only had one life and didn't want to waste it watching the same thing over and over again, ad nauseum. In summary, in spite of decent production values and a more or less capable cast (there's at least one actor here I don't rate), this is a rather unoriginal film that shows little to no imagination, as far as I can see. A mediocre watch.
It’s been said that crime doesn’t pay, but, as this notion is often portrayed in the movies, that’s only true if one gets caught. Perpetrators skilled in covering their tracks frequently manage to find a way around the law, provided, of course, that they’re truly adept at managing to stay ahead of authorities. That theory gets seriously put to the test in this third feature outing from writer-director Bart Layton, the story of a slick, enigmatic, unassuming Los Angeles jewel thief (Chris Hemsworth) who’s an expert at what he does, successfully pulling off his lucrative exploits without getting caught and without anyone getting hurt. But, in his latest job, wrinkles emerge that prompt him to reassess his circumstances (not to mention his future). These conditions uncharacteristically force him to improvise to stay ahead of those pursuing him, namely, an unconventional but insightful detective (Mark Ruffalo), an incisive insurance agent who specializes in managing the assets of wealthy clients (Halle Berry) and an undisciplined rival thief (Barry Keoghan) tapped by his partner in come (Nick Nolte) when the master criminal appears to be losing his nerve. Everyone here has a stake in how matters play out, both personally and professionally, but knowing how to proceed and who to trust become ever more complicated. In some respects, as this film’s title implies, the narrative underlying this story could arguably be seen as somewhat generic as far as heist movies are concerned. However, there are elements in play here that help to elevate this release above many others in this genre. For instance, the degree of character development is greater than what one typically finds in pictures like this, as virtually all the players here are imbued with more depth and nuance than usual. Then there are the film’s impressive production values, decidedly superior to many comparable offerings in such areas as cinematography, film editing (especially in the riveting car chases) and atmospheric background score. And, of course, the performances of the fine ensemble featured here do much to help set this release apart from its cinematic peers. Admittedly, several aspects of this production could use some shoring up, particularly in the areas of pacing (especially in the middle) and the development of a few of the picture’s less important story threads. On balance, though, “Crime 101” is a cut above what viewers might generally expect out of an offering like this, making for an enjoyable time at the movies, even if it’s not overly original or particularly innovative. But this is one release that successfully finds ways to get away with it – and there’s no crime in that.
