POPCORN REVIEWSS

Based on a novella Crime 101 by Don Winslow and written by Bart Layton, Crime 101 is a straight up nod to Michael Mann’s Heat – a story that did unfold in LA with themes of crime sprinkled in the narrative. At the center of the attraction to begin with is Mike – a suave and handsome thief that would remind you of John Abraham in Dhoom (2003). But one distinguishing factor here remains on his vulnerability, something that you spot early on. In the opening robbery, you see him get the set of diamonds that he wished for before the tables turn – so much so that he narrowly escapes, and later refuses to be a part of the next robbery orchestrated by Money (Nick Nolte). It remains a searing virtue that makes Mike human – he doesn’t shy away from acknowledging his other side of his personality, even though his goal remains to earn a quick buck given his childhood stricken with poverty. In a way, he is half Robinhood – one known to steal from the poor, and later keep the ransom.

The drama here has such well etched characters that automatically create layers in the narrative. For instance, Detective Lou remains the last standing pillar of honesty in a department that quickly wants to close files, even if it were to charge an innocent person with a crime that he may not have committed. In that sense, Lou would go an extra mile to crack a case – offering a visceral approach in order to form patterns of the crime committed. In a scene, you see him explaining a pattern that depicted the 101 freeway in California – a hub of all crimes being committed. And yet, he is stumped when asked about the culprit.

Sharon remains a searing character herself, a sole female employee working diligently for her company – until a new younger female employee arrives as her competitor. As a corporate employee, she generally expects promotions – but in turn is subjected to casual sexism. In a scene, her boss reminds her of the number 53 which is her age. And yet, she remains an honest character – wherein in a scene, you see her suspecting her billionaire client only to report to Lou, and coax him to initiate a polygraph test.

Some of the other characters hold rich importance in the narrative too. Ormon (Barry Keoghan) is in many ways more than a replacement for Mike – someone who is brought in by Money. In fact, he is Mike in another timeline – if anything, more impulsive and hyper that sees him panicking at various instances in a robbery. Elsewhere, Maya (Monica Barbaro)  remains an integral character in Mike’s life that instantly gives him a purpose. In a scene, you see her detesting Mike for bringing her to a posh restaurant, instead opting for a roadside cart. In another scene, you see her oblivious self tapping into a buried version of Mike, asking him about his childhood and his purpose in life. For Mike who has been all by himself lately, Maya offers an emotional support without judging him or his past, something that makes him question his morality too.

Speaking of morality, there are interesting twists and turns that connect the lives of the characters in question. From thoughts of retiring for Mike to Lou’s dilemma of morality during a particular ‘shootout’ gone wrong to the insecurities with respect to ageist differentiation for Sharon, the drama meticulously intertwines these lives. As a moment of criticism, I must say that a passage in the second hour does get slightly more convoluted than I would have liked – even while managing to hold your attention in a tense cat and mouse chase, something that could have also been simplified to a little extent. But the escalating levels of tension all come together in an expected finale set inside a hotel room in LA (another slick but neo-noir atmospheric setting) that absolutely hits it out of the park. The emotional conflict mixed with morality is a major theme tapped into that sequence, something that may not have been easy to translate onscreen but is done with a lot of flair and control. The screenplay is quite well written here.