Three people under increasing pressure find their stories intersecting in a tense, old-school crime drama that hopes top acting talent will keep you from noticing, or at least caring. And it pretty much succeeds.

Chris Hemsworth, who also produced, stars as Mike, a smooth, methodical thief who specializes in detailed plans where no one is ever hurt. He also specializes in a particular geographic location. The 101 in the title is not a metaphor for an introductory class but a reference to the Los Angeles freeway. Mike lives a very controlled, sterile, isolated life. He tells the man who acts as a fence for the stolen goods (Nick Nolte, rasping his way through a small role as “Money”) that he is going to quit.

Mark Ruffalo is Lou, the police detective trying to persuade his boss that there is one person behind a series of jewel robberies along the 101, as the boss complains about his low closure rate and pushes Lou to make ethical compromises.

And Halle Berry is Sharon, who sells insurance to wealthy collectors and is under-appreciated by her boorish boss. She has repeatedly been promised she would be made partner, but he keeps telling her she has to wait.

Methodical can also mean predictable, and Lou thinks he knows where the next robbery will be. But Money adds chaos to the mix by telling Orman (Barry Keoghan), a trigger-happy motorcyclist to rob the place Mike had identified.

All of these stories come together in a sleek, moody story that shows off the landscape of Los Angeles very effectively. Mike meets Maya (Monica Barbaro (Joan Baez in “A Complete Unknown”) and is very drawn to her warmth and empathy, two qualities we suspect he avoided because he was afraid of being vulnerable. Sharon is pushed aside by her boss, who gives a younger associate the chance to close the deal she was working on. (Tate Donovan is very good here as the client Sharon is trying to land, an arrogant billionaire engaged to a much younger woman.) Keoghan has a plausible American accent and an even more plausible combination of fear, anger, brutality, and the need to prove himself.

The plot keeps trying to bring all of these parts together, but they never quite mesh. Each segment, even the rumpled Ruffalo with a marital separation scene, feels as sterile and isolated as Mike’s spare, generic apartment. That separation scene features Jennifer Jason Leigh as Leo’s wife. Like Cory Hawkins, who play’s Leo’s partner, Leigh is immensely talented and unforgivably underused.

And then there is the last half hour, which plot holes that overpower the charisma of the stars and the glossiness of the production. The bigger problem is that what is intended to be rough justice comes across as fatuous and cynical.

Parents should know that this movie includes violence, with characters injured and killed, sexual references and situations including a sex worker, strong language, and alcohol.

Family discussion: Do you agree with Lou’s choice at the end? With Sharon’s decision? What will Mike do next?

If you like this, try: “Tequila Sunrise” and “Heat”

Emerald Fennell’s new film is more of a a sexy perfume commercial than a version of the classic Emily Bronte novel. The title and character names are from the book as are the windswept moors that act as setting and metaphor. But the book is not a romance; it is a story of obsession, repression, grief, and generational trauma. This version changes some of the relationships and, significantly, backstories to center the passionate love affair between Catherine Earnshaw (Margot Robbie) and Heathcliff (Jacob Elordi).

The movie begins with a crude joke. We hear what sounds like a sexual situation, with bedsprings squeaking and increasingly heavy breathing. And then we see that the source of the sounds is….the last strangled breaths of a man who is being hanged. The crowd is watching it as great entertainment. And a young girl (Charlotte Mellington as young Catherine) is mesmerized.

Catherine lives with her dissolute, brutish father (Martin Clunes) in an isolated, once-grand home. There are a few shabby servants and a between-classes woman named Nelly (Hong Chau), the out-of-wedlock daughter of a nobleman, who serves as Cathy’s caretaker. Mr. Earnshaw impulsively brings home a boy he rescued from being beaten. He has no name, so Catherine dubs him Heathcliff (Owen Cooper of “Adolescence” as young Heathcliff), after her late brother.

Catherine and Heathcliff have an instant, deep connection, but it is not entirely reciprocal. They are a lesser version of Buttercup and Wesley; she takes advantage of him and teases him, he is never anything but devoted and sincere, and they never have any kind of honest conversation about their feelings or prospects. She sulks and flounces. When she makes them late for dinner, he takes a beating from Mr. Earnshaw by lying that he was responsible.

The tiny population of the home that gives the book and the movie its name is all the people in this isolated area of the moors until the wealthy Edgar Linton moves five miles away with his ward, Isabella. Fennell is always superb at giving us striking, spectacular images that tell us a great deal about the characters, and the Linton home is one of Production Designer Suzie Davies’ most stunning achievements. Catherine (now played by Robbie) looks almost feral as she goes through a garden wall to enter the Linton’s exquisitely civilized space.

Soon, Heathcliff leaves and Catherine is married to Edgar. She now has magnificent jewels and a series of fabulous gowns in gorgeous settings, a sharp contrast to the wildness of the moors. Just in case we don’t get the point, Isabella makes a doll version of herself and Catherine and puts them in a dollhouse version of the Linton mansion, which itself, like an infinite regression, has a miniature version so the dolls can play with their own dollhouse. Oh, and the Catherine doll has Catherine’s own hair, taken from her hairbrush.

Fennell has some wild details, including Edgar having Catherine’s bedroom painted the color of her complexion, down to her freckle, and Catherine peeking through the floorboards to watch her servants have sex in the stable, using the horse’s bridle as a sex toy. And, again, a departure from the book, when Heathcliff returns, years later, he and Catherine have an affair. Perhaps the most significant departure is eliminating several characters and the multi-generational elements of the story. Or maybe it is when characters in a sexual relationship of domination and humiliation, and the one who is dominated end up chained like a dog and forced to communicate by barking. There’s no reason to believe these people care about each other beyond the fact that there are literally no other people around.

Pretty people in beautiful settings yearning, hurting each other, having sex — eye candy, titillation, but very superficial. At least a perfume commercial is over quickly.

Parents should know that this movie has very explicit sexual situations and references including domination and bondage, an alcoholic and abusive parent, sad deaths, strong language, drinking and smoking.

Family discussion:

If you like this, try: the book and the other movie versions, especially the one starring Sir Laurence Olivier.

Kevin James and Angel Studios got together to make a PG-rated romantic comedy that you could easily mistake for a Hallmark movie. Not that there’s anything wrong with that; there’s a reason Hallmark movies are so beloved. They are the comfort food of movies. We know where they are going and we like them not in spite of that but because of that. This is in that category.

James, who produced, co-wrote, and stars, plays a cuddly but shy 50-something 4th grade art teacher who goes to Rome to marry his fiancee, Heather (Julie Ann Emery of “Better Call Saul”). The church is ready, the guests are seated. He waits for her at the altar, only to learn that she has run away, leaving him a letter with a non-explanation explanation.

Since he can’t get a refund on the “two become one” honeymoon tourist package, he is stuck exploring the Eternal City with newlywed couples, riding a tandem bicycle with an empty back seat.

Two men from the honeymoon couples in the group befriend him. Julian (Kim Coates of “Sons of Anarchy”), is not exactly a newlywed. He has just married the same woman (Alyson Hannigan as Meghan) for the third time. He urges Matt to go out drinking and in PG language cheer himself up by getting together with another woman.

Jonathan Roumie (Jesus in “The Chosen”), has just married Donna (Julee Cerda), who was his therapist. The jokes in the film about whether that is appropriate or even legal are not funny. But they don’t really get in the way because Julian and Jonathan are just there like the devil and angel on the shoulders of characters in old Saturday morning cartoons, one to urge Matt to go wild, one to advise him to sit with his feelings. While Matt does not appreciate their advice, he does appreciate their interest and support.

What he appreciates more is Gia (a radiant Nicole Grimaudo), owner of a local cafe. For some reason, possibly because he is played by the movie’s producer, co-writer, and star and has James’ imperishable likability, Matt appeals to her. Even though he is sad and hurt and lost, she wants to help him. As I said, we know where this is going, but it’s where we want to see it go, thanks to a couple of great pleasures.

The first is the lovingly filmed and inexpressibly gorgeous Italian scenery, from the Spanish Steps to the Tuscan countryside. We even get a glimpse of the legendary annual horse-race in Siena. The second is the superb selection of needle drops and diagenetic music in the film, a delicious assortment of pop and classical, English and Italian. The movie begins with Ed Sheeren’s “Perfect” behind the opening montage, and Matt is such a fan he wears a Sheeren t-shirt. Matt loves music and when Gia asks him to pick something for them to listen to as they share a late-night pastry in her cafe, it is the one moment in the film where we see him utterly confident and at home. The jazz record he selects is just right.

The story developments are not as well chosen, and there’s pentimento indicating some last-minute re-cuts, perhaps the reason Hannigan is criminally underused, and the Neil/Donna relationship is so clumsily handled. This is a don’t think too hard, enjoy the scenery and wait for a happy ending movie. In other words, wait for screening at home.

Parents should know that this movie has some drinking, with characters getting tipsy, mild sexual references, and a scuffle with no injuries.

Family discussion: What didn’t Matt see in his relationship with Heather? What part of Italy would you like to visit?

If you like this, try: “Under the Tuscan Sun,’ “Made in Italy,” “Letters to Juliet” and Hallmark movies set in Italy like “Villa Amore” and “The Groomsmen: Last Dance”

I’m pleased to be a member of the Online Film Critics Association, which announced our awards today. Lots of love for Sinners, One Battle After Another, and Jessie Buckley, who are all shaping up to be happy on Oscar night.

Best Picture (Ranked Order)

One Battle After Another (Winner)

Sinners

Sentimental Value

It Was Just an Accident

The Secret Agent

Marty Supreme

Weapons

No Other Choice

Hamnet

Train Dreams

Best Animated Feature

KPop Demon Hunters

Best Director

Paul Thomas Anderson – One Battle After Another

Best Actor

Michael B. Jordan – Sinners

Best Actress

Jessie Buckley – Hamnet

Best Supporting Actor

Benicio Del Toro – One Battle After Another

Best Supporting Actress

Amy Madigan – Weapons

Best Ensemble & Casting

Sinners

Best Original Screenplay

Sinners

Best Adapted Screenplay

One Battle After Another

Best Editing

One Battle After Another

Best Cinematography

Sinners

Best Original Score

Sinners

Best Production Design

Sinners

Best Costume Design

Sinners

Best Makeup & Hairstyling

Frankenstein

Best Sound

Sinners

Best Visual Effects

Sinners

Best Choreography (Dance & Stunt)

Sinners

Best Debut Feature

Eva Victor – Sorry, Baby

Best Film Not in the English Language

Sentimental Value

Best Documentary

The Perfect Neighbor

Lifetime Achievement Awards

Colleen Atwood

Jack Nicholson

Steven Spielberg

Vittorio Storaro

Walter Murch

Special Achievement Awards

Green Film 

Film Workers for Palestine 

Best Non-U.S. Releases (in alphabetical order)

Aki (dir. Darlene Naponse, Canada)

Copper (dir. Nicolas Pereda, Mexico)

The Good Sister (dir. Sarah Miro Fischer, Germany)

Home Sweet Home (dir. Frelle Petersen, Denmark)

Levers (dir. Rhayne Vermette, Canada)

Meadowlarks (dir. Tasha Hubbard, Canada)

Nino (dir. Pauline Loquès, France)

Phantoms of July (dir. Julian Radlmaier, Germany)

Punku (dir. J.D. Fernández Molero, Peru)

Two Pianos (dir. Arnaud Desplechin, France)

Chris Raven (Chris Pratt) wakes up, or maybe comes to, sitting in a chair, his wrists manacled. He is in Mercy Court, presided over by an AI judge who gives him 90 minutes to prove that he did not murder his wife. If he is not successful, he will immediately be executed.

“Mercy” is set in the near future, when civil unrest has led to the development of the AI court, reversing the Constitutional presumption of innocence and right to counsel with a system designed for efficiency. It is “the ultimate deterrent.” Chris is the 19th person to be tried by the AI judge, who appears on screen as a female character named Judge Maddox (Rachel Ferguson).

Chris does not even remember where he was the previous day and learns from the “judge” that his wife has been stabbed to death in the kitchen, her body discovered by their teenage daughter, Britt (Kylie Rogers). The “judge” plays the footage for him, showing him leaving work to return home, insisting on entering despite his wife telling him not to come in. No one else came to the house during that time period. Chris, a cop who was instrumental in developing the AI court system and brought in the first case, now sees what it is like to be on the other side. As the clock ticks down, Chris has access to all of footage, recordings, and records that are automatically stored online and is permitted to make calls to witnesses.

Producer/director Timur Bekmambetov specializes in action with a fantasy element like “Night Watch” and “Abraham Lincoln: Vampire Hunter” and that makes him a good fit for this film. We might not expect a movie set primarily in one spare room with a screen and a chair to be in IMAX 3D, but it keeps the visuals from feeling claustrophobia-inducing as Chris and the judge call up images of all of footage and data Chris calls up on the screen. Chris has an immersive experience, and the effects make us feel a part of it.

The set-up is strong, raising questions (though not spending much time exploring them) about how society balances safety and justice and imposing a tight time limit to build and sustain a feeling of urgency. Adopting if not reaching the ingenuity of telling the story on a screen of the innovative films “Searching’ and “Missing,” produced by Bekmambetov, he makes the best of that form of storytelling and Pratt does very well stuck in a chair, showing us how his character shifts from horrified, confused, and humiliated to the determined problem-solver cop he is.

The last part of the movie gets over-complicated, piling detail upon detail, and cutting some logical corners. But Pratt is, as always, a likable presence and we want to see him work through this mess and prove that he is innocent — and that at least for now humans can still outthink machines.

Parents should know that this movie included the murder of a mother, discovered by her daughter who is very traumatized, as well was peril and violence including guns, explosives, and a car chase, with characters injured and killed. Characters use strong language, some are alcoholics who struggle to stay sober and one starts drinking again and gets very drunk, there is brief drug use and reference to making and distributing drugs.

Family discussion: Do you think AI will ever be able to judge someone’s guilt? Did you think Chris was guilty and if you did, what changed your mind?

If you like this, try: “Missing” and “Searching”