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.

Crime 101 takes us along the 101 freeway through sun-bleached Los Angeles, where jewel heists unfold with careful timing rather than scenic views. Chris Hemsworth plays the central figure, a thief who remains untraceable while carrying out these jobs with the exactness of a Swiss watch, leaving the LAPD without leads. The setup keeps the focus on the mechanics of the crimes and the pursuit that follows. Halle Berry appears as an insurance broker facing a personal crossroads, creating a mix of desperation and chance that intersects with the unfolding events. Mark Ruffalo portrays a detective who senses a pattern and pursues it with steady determination, raising the overall tension in the story. The film comes from director Bart Layton, working from a Don Winslow novella. It blends familiar elements of the heist genre with occasional surprises that keep things from feeling entirely predictable. While originality can be scarce in this type of Hollywood tale, the movie still finds ways to divert attention and deliver unexpected moments within its two-hour span. Hemsworth shows range beyond his usual roles, coming across as smooth and calculating enough to make the character engaging. Berry brings depth to her part through layered choices under pressure, and Ruffalo maintains an intense focus that fits the detective's relentless nature. If the goal is a polished crime story with glamour and suspense, this one delivers on those terms. Those seeking major departures from established patterns might find it less compelling, yet it remains a solidly made example of the form that understands how to execute its premise effectively.