Shadows on the Wall

Crime 101

dir-scr Bart Layton
prd Tim Bevan, Eric Fellner, Derrin Schlesinger, Dimitri Doganis, Bart Layton
with Chris Hemsworth, Halle Berry, Mark Ruffalo, Barry Keoghan, Nick Nolte, Corey Hawkins, Monica Barbaro, Payman Maadi, Tate Donovan, Devon Bostick, Payam Banifaz, Jennifer Jason Leigh
release US/UK 13.Feb.26
26/US MGM 2h15

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Slickly shot and edited, this thriller twists multiple strands to build tension as a climactic heist approaches. Writer-director Bart Layton smartly keeps the focus on characters, each of whom grapples with nerves in their own distinct way, pulling us into the story. So it's entertaining to watch everything spiral along, even if it feels a bit airless. And it just about manages to undercut the usual crime movie cliches.

In Los Angeles, James (Hemsworth) is an expert at invisibly stealing jewels for his partner Money (Nolte). But when James expresses doubts about the next job, Money calls in loose cannon Ormon (Keoghan). Meanwhile, Detective Lou (Ruffalo) is on James' trail, tracing clues from various heists alongside insurance adjuster Sharon (Berry). Both Lou and Sharon are overlooked by their bosses, making them question why they're so loyal. And James also begins wondering if there might be more to his life when he meets nice girl Maya (Barbaro). Then one last job brings everyone into play.

Visual shortcuts quickly define the characters and situations, from the clothes people wear to the cars they drive, while deeper details emerge later. Layton also makes terrific use of the setting, with California's 101 Freeway providing the line through James' crimewave. And James, Lou and Sharon live in apartments overlooking the beach. Action unfolds in offbeat chases and fights that are choreographed in strikingly inventive ways. And the characters are carefully contrasted against each other.

Hemsworth gives James a steely charisma that is of course impossible to resist, especially as he reveals his vulnerabilities. And as his connections become precarious, he is pushed to change his approach. By contrast, Ruffalo's Lou is a mess, barely managing his life while clinging to his instinctual approach to policing. Berry beautifully holds the balance between them, creating barbed chemistry with both while taking Sharon on her own involving journey. And Keoghan is absolutely terrifying as the wildcard character who is likely to blow everything up.

As the plot deliberately approaches a series of showdowns, the underlying intrigue keeps us gripped. This is largely because the three central figures have all been betrayed by those they trusted, so their muddled feelings are easy to identify with, pushing them to bend their carefully honed personal ethics. Since the film makes us think, it is far more entertaining than if it were simply another flashy heist thriller. And a mercifully light touch in the very last scenes adds a lovely kick.

themes, language, violence 14.Jan.26

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