Crime 101 is in theaters now, and while its ending isn’t mind-blowing and doesn’t require much explanation, I imagine you still have questions about what happens during the finale.
Below, I’ll answer your biggest questions (with some input from writer-director Bart Layton, for good measure) about the heist thriller from Amazon MGM Studios and Sony Pictures.
Who dies in Crime 101?
None of the new films’ main trio, namely Chris Hemsworth’s Mike Davis (whose real name is James), Mark Ruffalo’s Detective Lou Lubesnick, and Halle Berry’s Sharon Colvin.
The only major victim of Crime 101The finale is Barry Keoghan’s irascible young upstart Ormon. He dies from a gunshot wound during the Mexican standoff between him, Lubesnick, and Davis as part of the $11 million heist Davis attempts to pull off to effectively retire from a life of crime.
Although it is difficult to determine who deals the fatal blow, it appears that Davis is responsible. The eager jewel thief apparently pulled the trigger and, in the process, broke his strict self-imposed moral code that no one gets hurt during a heist he attempts to pull off.
Although Crime 101 is an almost authentic adaptation of Don Winslow’s 2011 novel of the same name, there was always the possibility that its ending could deviate from the source material. So, did Layton ever consider killing Mike/James, Detective Lubesnick, and/or Sharon in an attempt to shock the public?
“I didn’t want any of them to be eliminated at the end,” Layton told me during an exclusive chat ahead of the cop movie’s Feb. 13 premiere. “But I felt it was important that each one had an ending that you didn’t see coming.”
What happens to Davis, Lubesnick and Sharon in Crime 101?
Well, so what? does happen Crime 101′Who are the main characters before the end credits roll?
After Ormon is shot to death, Lubesnick, who pursued Davis before and during the events of the film, makes an unexpected decision. No to arrest Hemsworth’s leading man. Carefully disarming a clearly distraught Davis, Lubesnick takes pity on him and instead decides to let Davis go scot-free.
Upon meeting Sharon at the yoga class she and Lubesnick frequent, the latter reveals that he has finally solved the case of the Hollywood Freeway jewel thief (NB: Sharon already knows it was Mike/James).
However, before they part for the last time, he gives Sharon an envelope containing five real diamonds, which Lubesnick saved from the failed heist. It’s not only a symptom of how alienated he feels from his job as a law enforcement officer, but also a way to secretly get revenge on his unsupportive LAPD colleagues and to thank Sharon for helping him. Remember, she told Lubesnick all about Davis and his plan. So without it, I would still be stuck at square one.
Subsequently, Sharon, who finally quit the insurance company that constantly ignored her and refused to promote her because of her age and gender, now owns something incredibly valuable that she can sell to help fund her own company. But she’s not the only one who gets something gifted before the movie ends.
After saying goodbye to Sharon, Lubesnick returns to his office desk and finds a mysterious package. Following the instructions inside the main package, you head to a nearby garage. There, he finds the dark green 1968 Camaro that Davis owns. As it happens, to thank Lubesnick for not stopping him, Davis left the car (a model that Lubesnick previously suggested was his dream car) with the tenacious detective. Cue Lubesnick getting a somewhat happy ending as he tests out his new wheels.
But what about Davis? We see him driving down the Hollywood Freeway, stopping at a nearby rest area and then making a U-turn to return to the Californian city.
The reason? one of Crime 101In the final scenes of Maya (Monica Barbaro), who dated Davis before breaking up with him because he wouldn’t open up to her about his past, she also receives a package at her workplace. When she opens it, she finds a photograph of James sitting on the porch of his childhood home with his family. Turning it over, she finds and reads a short message from Davis, causing her to leave her desk and presumably go look for him.
“It’s a slightly different ending to the novel,” Layton said of Crime 101The end. “The main thing about the characters is that they don’t necessarily get what they want, but they get what they need.
“It’s really a movie about how we all live,” Layton continued. “Especially in Los Angeles, with the external perception of success with cars, clothes, [and] apartment, and then having this pressure or status anxiety because of it. But it’s also about what drives these characters and those things aren’t really what’s going to make them happy.”
Is there a mid-credits or post-credits scene in Crime 101?
No. If you stay to watch the credits to appreciate the number of people who worked on them, I congratulate you.
However, if you’re expecting an end credits scene, you know, like any Marvel movie that does or doesn’t have MCU stars Chris Hemsworth and Mark Ruffalo in it, you’ll be sorely disappointed.
Is a Crime 101 sequel in development?
Neither Amazon nor Sony have publicly announced that there will be a sequel, but Layton admitted that he hasn’t really given any thought to what a sequel might look like.
“I hadn’t thought about it until we had the premiere and everyone was asking me ‘What happens next?'” he responded. “I guess people fell in love with the characters so much that they want and need more, but I haven’t really thought about that.
“And, you know, I had a great time,” he continued. “I loved the experience and I love those actors. Certainly in terms of the experience of doing another one, I would be very excited about that, but I don’t know if I would be the right person to write it or direct it, so we’ll see.”
Is Crime 101 the first of many Don Winslow film adaptations we’ll get?
That doesn’t mean Layton’s time working on film versions of Winslow’s literary works is over. In fact, Crime 101 is just one of six short stories that make up Brokenan anthology that similarly explores America’s underbelly. So is Layton willing to bring any of those narratives to life?
“Possibly,” he joked. “I’m talking to Don about adapting other stories of his incredible work.
“For me, it’s not just about whether it’s a great story,” he continued. “It’s also about whether it’s a great story that gives me the ability to smuggle it into something that sparks more conversation and leaves you with something to think about after you leave.” [of the theater]which is about how we live and the decisions we make.
“So I’d have to ask myself, ‘Does that story give me the ability to explore some of those more interesting ideas? I guess you’ll have to see.’
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