555 Best Crime Movies to Watch (Page 32)

Jailbreak: Love on the Run could be many things depending on where you stand. You could see it as the tragic story of how an inmate successfully seduced his jailer into letting him escape. Or you could see it as the romantic tale of a woman finding her soulmate after years of denying herself companionship and affection. The commendable thing about this Netflix documentary is that it allows space for both of those perspectives through lengthy interviews with the Whites’ close friends and colleagues. That said, the editing of this Netflix documentary could’ve been tighter. The interviews could’ve been cut short and some phone call excerpts, given their explicit content, could’ve been left out, especially given how this tale ends. Not only would the documentary have been more engaging, it would’ve also been more sensitive to Vicky’s situation. “It’s like a disgusting romance novel,” one co-worker says of Vicky and Casey’s admittedly unethical relationship, but while her comment seems justified at the moment, it turns sour the moment you learn about the couple’s fate.

Genre: Crime, Documentary

Rating: R

As a documentary, The Darkness Within doesn't dig as deep as it probably could have. It doesn't offer a particularly specific account of how La Luz del Mundo has achieved its popularity and what exactly keeps it in power today. However, due to the fact that many church members seem to remain loyal to its corrupt, criminal leaders, a straightforward testimony is also exactly what this film needs to be. In direct, uncompromising detail—but always edited with a solemn respect for the survivors, who get to make their statements without the camera in their face—it lays out the mountain of damning personal experiences that too many La Luz del Mundo have suffered, as the rest of the church has turned a blind eye towards them.

Genre: Crime, Documentary

Director: Carlos Pérez Osorio

Mystery films and whodunits have placed the rich and powerful in their crosshairs for generations now, and Murder Mubarak proudly follows in that tradition through a tried and tested formula. So while there isn't anything particularly surprising here, the film nails the tone it needs, smartly placing the focus away from the central crime and poking fun at the entire ecosystem of privilege and ego that gets revealed in its wake. Unfortunately, the movie also doesn't sustain this momentum till the end, as it abruptly stumbles toward its inevitable revelations without giving itself time to let the consequences breathe. When it's all over, it actually feels like we don't know many of these individual characters any better than the overall situation they're in.

Genre: Comedy, Crime, Drama, Mystery, Thriller

Actor: Aashim Gulati, Brijendra Kala, Deven Bhojani, Dimple Kapadia, Grusha Kapoor, Karisma Kapoor, Pankaj Tripathi, Purnendu Bhattacharya, Sanjay Kapoor, Sara Ali Khan, Suhail Nayyar, Tara Alisha Berry, Tisca Chopra, Varun Mitra, Vijay Varma

Director: Homi Adajania

In depictions of organized crime, we’re used to the stone-cold crime boss, and the conflicted, unwilling crime lord, but Miss Shampoo presents a new version of the gangster– one that’s fallen head over heels in love. The film plays out in hilarious ways, with the humor expected from writer-director Giddens Ko, and Daniel Hong and Vivian Sung are able to inject some heart into their performances with surprising chemistry. That being said, the film is clearly more interested in mocking organized crime, so the film feels more skewed towards Tai rather than Fen. It’s still really entertaining, though Miss Shampoo had so much more it could have shown, had it focused equally on Fen’s perspective.

Genre: Comedy, Crime, Drama, Romance

Actor: Bai Jing Yi, Bruce He, Chih-ju Lin, Chu Chung-heng, Duan Chun-hao, Duncan Chow, Duncan Lai, Honduras, Hong Yu Hong, Hsia Teng Hung, Hsin-Ling Chung, Kai Ko, Ke-Li Miao, Kent Tsai, Mei-Man Jin, Teng-Hung Hsia, Tsai Chang-Hsien, Tzu-Chien Kuo, Vivian Sung, Wei-min Ying

Director: Giddens Ko

The atmosphere communicated within the title Hurricane Season comes off incredibly clearly on screen: this is a film that just feels humid and full of foreboding for a coming storm, with people feeling all manner of guilt while secluded in their own homes. Cinematographer María Secco's gorgeous colors and brown tones fill the 4:3 aspect ratio nicely, and director Elisa Miller lets events unfold with the stately pace of a long novel. There's something fascinating here about how each new "chapter" or perspective doesn't really lead to more answers, but simply to more anguish closing in from all sides.

So it would be understandable if some may be put off by how unrelentingly dark Hurricane Season is, especially as the trans woman whose death becomes the central event never enjoys the kind of characterization everybody around her gets. Apart from how the film illustrates that discrimination against women, against repressed "taboo" sexuality, and against access to proper reproductive health only threatens to grow under poverty, it can be difficult to grasp what point the movie is trying to make. Social realism certainly has its place in cinema, but the different perspective in this particular film still don't add up to more than the sum of its parts.

Genre: Crime, Drama, Thriller

Actor: Andrés Cordaz, Edgar Treviño, Flor Eduarda Gurrola, Guss Morales, Kat Rigoni, Mónica Martínez​, Norma Reyna, Paloma Alvamar, Rodrigo Corea, Said Sandoval

Director: Elisa Miller

Rating: R

What seems like The Good Mother's biggest asset is actually its downfall. Yes, the three main actors (Swank, Cooke, and Jack Reynor as the civil servant son, Toby) are all good at what they do, but they're incapable of resuscitating a script that's never truly come to life. These casting choices, obviously made to give some clout to a very mediocre project, feel even more disappointing because the disconnect between actor and character is way too big. For example, Swank is not the alcoholic, fed-up mother we need her to be in this case, and its hard to see this as something else than a derogatory take on her previous more tender and glam roles. Director Miles Joris-Peyrafitte's Sundance-winning As You Are carried a whiff of fresh air, The Good Mother is drained out of all its energy, avoiding reflective depth at all costs, not to mention skirting around the ambivalences of motherhood. 

Genre: Crime, Drama, Mystery, Thriller

Actor: Cliff Ware, Dilone, Frank Alfano, Hilary Swank, Hopper Penn, Jack Reynor, Karen Aldridge, Larry Fessenden, Laurent Rejto, Norm Lewis, Olivia Cooke

Director: Miles Joris-Peyrafitte

Rating: R

Depressingly, Scout's Honor isn't necessarily an exposé about the crimes of the Boy Scouts of America because—as the documentary reminds us—this institution has been caught red-handed many times over since its inception, and yet it evades real accountability. The film is more like a renewed call for justice, with its approach being one of blunt force. This means that the documentary can be sloppy, piling on one case after another without much synthesis, and taking out its anger on one current representative of the Boy Scouts, whom the filmmakers constantly interrupt and interrogate during his interview, That said, it's also hard to object to this kind of approach, as the patterns of abuse become too damning to ignore. Maybe a different film will be able to unpack the systems that allow the Boy Scouts to get away with this, but for now this cry of rage is enough.

Genre: Crime, Documentary

Director: Brian Knappenberger

If you’re expecting a twisty and thrilling look at a dangerous group of hackers who hide deep within a military bunker in Europe, and who refer to their entire operation as “straight from a James Bond movie,” then you might be disappointed with Cyberbunker, a dragging documentary that relies too heavily on talking heads for momentum. It takes 30 minutes to establish the relevance of these figures, and a full hour before it finally explains the actual crime and wrongdoings they’re complicit in. The most interesting parts of the case, like the FBI’s involvement, Cyberbunker’s links to the propagation of child pornography, and the group’s advocacy on internet privacy, are completely buried beneath a stack of unnecessary tidbits. I appreciate the effort of the filmmakers and the interviewees coming together to make something decently informative, but by the end of it, you’re left wondering whether all this was better off as a Wikipedia article.

Genre: Crime, Documentary

Director: Kilian Lieb, Max Rainer

Rating: PG-13