Displaying items by tag: Nick Nolte

CRIME 101

US, 2026, 139 minutes, Colour.

Chris Hemsworth, Mark Ruffalo, Halle Berry, Barry Keoghan, Corey Hawkins, Monica Barbaro, Nick Nolte, Devon Bostick, Jennifer Jason Leigh, Taie Donovan.

Directed by Bart Layton.

The 101 of the title is actually the highway through Los Angeles. However, Crime 101 sounds like the title of the basic university course. And, those interested in high-class and well-planned heists are provided with what might be called plentiful tutorial material for their hoped-for careers. But ministers will sit back and enjoy it all.

Writer-director, Bart Layton, has adapted a novel by Daniel Winslow and has intended to make a big budget, strong cast, highly colourful Los Angeles drama. Which he does. Immediately we are introduced to Mike, Chris Hemsworth at his charming best, a gentleman thief, meticulous planning, no hurting anyone, but getting away with jewels. We get a glimpse of his patron, sounding more gravellyy-voice than ever, Nick Nolte.

Then we are introduced to the other key characters, Sharon, Halle Berry, 11 years with a high-class insurance firm, discussing with millionaires policies and planning for a society wedding; Mark Ruffalo as Lou, a veteran LA detective, dishevilled, expert profiling criminals but tending to be looked down on by the smarter professionals. Then, an entirely different character, Orman, Barry Keoghan (in so many films these years), a petty, very petty thug with some-confident violent attitudes, who has to follow Mike and report back on his plans – although he too sets up a rather messy bank robbery to build up his credibility.

There is something not quite right in the lives of each of the main characters and, gradually, they are brought together, Sharon and Lou  through self-help and yoga classes, Mike and Sharon because he investigates her being passed over, humiliated at her company.

This is all moving towards a buildup for the heist in the luxury Beverly Wilshire hotel, the millionaire and his fiancee, a safe full of cash, jewelry, a security expert coming from Europe – and some substitutions, to catch a thief, an intrusion from the violence Orman.

Bart Layton achieves what he set out to do, nothing more, nothing less – a Los Angeles crime action adventure, heists, investigations, car chases, identity switches, and entertainment.

1. The title, like a college course title, but along freeway 101?
2. All film traditions of crime set in Los Angeles? The classic traditions? 21^st-century version?
3. The Los Angeles settings, the opening credits, upside down, angles, the city, the highways, the lights, buildings…? Atmosphere? The streets and the poor sections? The contrast with the Beverly Wilshire, luxury hotels, insurance offices, police precincts, jewelry shops, yoga classes…, The musical score?
4. The background of the voice-over, self-improvement, the background from Mike, Sharon listening, the yoga classes, Lou present and learning, so it is and motivation for the characters?
5. The morning, the characters getting up, Mike, person, dress, driving, the car and the man in the boot, the shop, the owner, the jewels, the couriers, the fakes, the real jewels of the ankle, the gun, the pursuit, the confrontation, the robbery, the career shooting and a drop of blood in the car for later detection? Letting the man out of the boot? Mike and his robberies, never injuring anyone? Chris Hemsworth, screen presence, the building of a character and personality? The mystery?
6. Lou, status in the police force, old-style, theories, the network of authorities, looking down on him, work with his partner, his partner to bring with him, wanting to work with him? At the site of the various crimes? Lou and his theory, the 101? The man, eliminating various criteria and the remnant of crimes along the 101? Lou profiling the criminal? Lou, at home, his wife, intrusion, the later meeting, the anchor, his walking out, the apartment by the ocean? Going to yoga, the encounter with Charlotte?
7. Sharon, insurance, see her in action, with Munro and mistaking his wife or girlfriend, the wealth, the discussions about the insurance, the forthcoming wedding? Her age, early years, the promise of promotion, following her off, the men on the staff, the new associate, Fabio, taking Sharon’s job, the achievement and praise, Sharon later telling her the truth in front of the executive? Sharon listening to the tapes, the yoga? Living alone, sleep and its limitations? Upset?
8. Money, his age, and Nick Nolte character, raspy voice, the interview with Mike, controlling him? Mike and his rebellion? Wanting to keep his methods, get money, retire? Money and his son summoning All men, knowing Allman’s father, a different kind of criminal, tough, age, look, motorbike, following Mike, Mike observing him, removing the tracer on the car? Observing, Mike’s contact with the IT man, information about peoples access? All finally attacking him, brutally? The scene of the robbery in Santa Barbara, tough, the baby, the locked door, his anger, the victims, the robbery and his escape?
9. Mike, the car crash, discussions with Meyer, the date, the discussions, with high class, the mystery of his background? His reticence? The affair, continued seeing each other?
10. The information about Sharon, encountering her and was discussion about cars, at the Gallery, his arranging the meeting, his discussions with her, knowing all about her, her resentments, the standing for firm and integrity? The scenes of the office, passed over again, her contacting Mike, the explanation of the situation, the methods, the wedding, the insurance, the protection from Europe?
11. The conscience, going to Lou, giving him the information, Lou and the setup outside the jewelry shop, the boy, the shooting, the cover up, his being sacked? The reaction?
12. With, the plan, Mike and his taking the place of the security guard, the flight from Europe, the transition, Mike waiting, Lou taking the place of the guard, the conversation about Steve McQueen, bulletin chases, The Thomas Crown Affair and a gentleman thief?
13. All in, getting the job at the hotel, getting the number of the room, preparing to ?
14. The situation in the room, Mike, the emptying of the safe, the jewels, the gun? Lou pulling the gun, the confrontation, all in, the three games, the woman in fear, the shooting, the wording Munro, the death of Allman? The deals, Lou and his letting Mike go, his previous tracking down Mike’s family, the discussions with his mother?
15. The aftermath, Mike and the car, leaving, sending the photo, Maher and the photo of the family? Lou giving the the jeweller diamonds to show? At the yoga?
16. The gentleman thief, some integrity, writing background, the crime thriller, detection, the resolution?

DIE MY LOVE

US, 2025, 119 minutes, Colour.

Jennifer Lawrence, Robert Pattinson, Sissy Spacek, Nick Nolte, LaKeith Stanfield, Kasmere Trice Stanfield.

Directed by Lynne Ramsay.

As the audience watches Grace in this disturbing drama, and thinking about the title, it would seem better as “Destruct, My Love” or, more accurately, “Self-destruct, My Love”.

This film offers a portrait of a woman breaking down, initially seeming in control of her life, arriving with her husband at their new home, her relationship with her husband, passionate, emotional. She is played by Jennifer Lawrence in a performance which becomes more and more intense as the film progresses. Her husband, Jackson, is played by Robert Pattinson, in love with Grace, their both rejoicing in her pregnancy, the birth of their child.

Then the film fills in some background about Jackson’s family, his father, ageing, touches of dementia, a cameo with Nick Nolte. His mother, Pam, offers a welcome performance by Sissy Spacek, ageing, living her memories, but disturbed, sleepwalking, but understanding and encouraging of Grace, caring, offering to mind the baby.

But, soon, erratic behaviour on Grace’s part, yet always devoted to the baby, carrying it, feeding it, constant care. We begin to see her mentally falling apart, isolated in the house away from neighbours, lonely with Jackson away for his work, craving his physical presence, but subject to mood swings, dreams and fantasies (especially for a neighbour who zooms past on his motorcycle and is later seen with his wife at a garage, the audience wondering whether he is real or exists in her imagination).

And Jackson brings home a dog who barks and barks and barks and whines – intolerable for the audience and intolerable for Grace. But, all the time the closeness between mother and child, even clutching the baby.

There are some flashbacks to Grace and Jackson courting, the wedding ceremony and even early indications of Grace’s erratic behaviour during the dance, leaving the wedding, strange behaviour back at the hotel…

Jennifer Lawrence has given some very strong performances over the years and is fully committed to portraying Grace, as a person, as a woman, as wife and mother, as lonely, experiencing post-partum depression, relationship with her husband becoming edgier, deteriorating. Jennifer Lawrence’s performance exposes Grace’s disturbed psyche, and at the end of it Grace is naked, laid bare, fulfilling the title, leaving the audience emotionally alarmed. A film for a female audience, a probing of the depression after birth. A film for a male audience understanding and empathy. And always disturbing.

1. The title and expectations? Something of a “Destruct, My Love, Self-destruct, My Love”?
2. The rural setting, the house and interiors, parents’ house, the countryside, flat open spaces, the roads? The town? The musical score?
3. The impact for the film for a female audience? Pregnancy, post-partum depression? The impact for the film for a male audience, understanding, empathy?
4. The introduction to Grace and Jackson, their age, the relationship, the house, looking it over, their passion for each other, manifestations? The pregnancy?
5. The flashbacks to their meeting, the proposal, the wedding, Grace at the wedding itself, the ceremony, the dance, her frenzy, going out, signs of what was to come? The wedding night, the hotel and her behaviour? The flashbacks in the light of the development of her pregnancy and after birth?
6. The background of the family, Harry, his age, memory, his death? Pam, the relationship with Harry, as Jackson’s mother, the gatherings, the other relations and their comments? Pam, concerned about Grace, her own sleepwalking, waking, dreams? Understanding Grace, visiting, the discussions, care of the baby? Audience response to Pam?
7. The focus on Jackson, in the forefront, in the background, in himself, in the light of his relationship to his mother and father, his work, away from home? Love for Grace, concerned? The birth, love for the baby? The issue of the baby’s name? His absences, returning home, Grace and her more erratic behaviour, trying to understand, his patience, impatience?
8. Grace, the complexity of her character, her mental health, when she married, the manifestations at the marriage and wedding night? Settling into the house? The birth and its effect? Her love of the baby, forever with it, carrying, tending, feeding it? Her plans for writing, the writer’s block, the visit to the party, the sympathetic comments, her reactions? Her wanting to be by herself? In the fields, crawling along the ground, her sexuality and masturbation? The distancing from Jackson? His exasperation? Her moods, behaviour, the hitting of the horse and the consequences? His bringing the dog, its continued barking, whining, on her nerves, eventually the confrontation, shootings, Jackson burying it? Driving, open the door of the car to get out?
9. The cumulative effect for the audience of this portrait of Grace and her experiences?
10. Her help from Pam? Having the rifle?
11. The neighbour, Karl, and his motorbike, passing, seeing him with his wife, the approach, the sexual encounter, reality or fantasy?
12. The final deterioration, naked, her past attitude towards her body, going into the forest, Jackson following, the flames (and the flames and forest fire at the beginning of the film)?
13. The impact of seeing a person mentally and physically deteriorating – understanding, sympathy?