Here are Cinephile Corner’s 10 recommendations for movies like Crime 101:
Roofman
Roofman is the kind of “they don’t make them like this anymore” adult caper that suits Channing Tatum better than almost anything. He dials down the movie-star wattage and leans into hangdog charm as Jeffrey Manchester, a serial McDonald’s robber who perfects the art of dropping through rooftops, then graduates to a more audacious escape-and-hide scheme after he is finally caught. Derek Cianfrance treats the true story with a straight face and a curious heart, finding room for procedure, romance, and the melancholy of a guy who is always one step from being found out.
Play Dirty
Play Dirty is the latest in Prime Video’s conveyor belt of glossy but weightless action titles. You can feel the intentions are different this time, since Shane Black aims for a straighter crime caper rather than the snarky crackle of The Nice Guys or Kiss Kiss Bang Bang. On paper, the package looks sturdy. Mark Wahlberg plays Parker, LaKeith Stanfield plays Grofield, and Rosa Salazar plays Zen, a trio of professional thieves drawn into a job that pits them against the New York mob and the president of Zen’s South American home country. In practice the movie is mostly table setting that never pays off.
Nightmare Alley
Guillermo del Toro has built a career on finding beauty in darkness, crafting stories that, even in their bleakest moments, hold onto some sense of wonder, nostalgia, or hope. Movies like Pan’s Labyrinth, The Shape of Water, and his stop-motion Pinocchio remake all explore the perseverance of the human spirit, even in the face of terrible atrocities. That’s what makes Nightmare Alley such a striking outlier in his filmography—it’s a film almost entirely devoid of hope, a cynical neo-noir that suggests people are, at their core, selfish and opportunistic. Instead of offering redemption, Nightmare Alley leaves you with a sick feeling in your stomach, hammering home its central thesis: trust is a liability, and grifters will always find a way to exploit it.
Miller’s Crossing
In the Coens’ filmography filled with bold tonal shifts and genre experiments, Miller’s Crossing sits as a reserved yet razor-sharp piece of storytelling. It may not wear its eccentricities on its sleeve like Barton Fink or O Brother, Where Art Thou?, but it reflects the Coens’ precision and intelligence with remarkable clarity. For most filmmakers, this would be a career-best. For the Coens, it’s just another strong chapter in a catalog that rarely misses.
Juror #2
Warner Bros. initially sidelined Clint Eastwood‘s courtroom drama Juror #2. Despite critical acclaim for the 94-year-old director’s latest work, the studio only pursued an awards campaign after the film gained praise. The movie had a limited theatrical release by Warner Bros., a decision that was widely criticized. After watching Juror #2, I share the frustration of those who missed the chance to experience this procedural drama on the big screen.
Ballad of a Small Player
Edward Berger trades battlefield thunder and papal intrigue for the neon haze of Macau in Ballad of a Small Player, and the downsizing mostly helps. Where All Quiet on the Western Front and Conclave felt airless in their importance, this Netflix noir drifts on smaller, grubbier currents. Colin Farrell plays the magnificently named Lord Doyle, a con man hiding in five-star purgatory, burning through stolen money while chasing baccarat streaks that never come. He wears “lucky” gloves, talks to himself like a man trying to will fortune into existence, and keeps sinking. Farrell leans into the hangdog glamour of a loser who still orders champagne. It is one of his better sad-cad turns.
Highest 2 Lowest
Spike Lee’s Highest 2 Lowest, his reimagining of Akira Kurosawa’s High and Low, proves how easily one of cinema’s greatest stories can be adapted to the modern era. The update doesn’t reinvent the wheel, but with Lee behind the camera and Denzel Washington in the lead, it’s both stylish and engrossing – one of the stronger Spike Lee movies of the century and one of the best Apple TV+ originals to date.
Hit Man
Despite my love for nearly all things Richard Linklater and Glen Powell, I just couldn’t bring myself to fall for their newest release on Netflix – Hit Man, which tries its hardest to hide its superstar lead behind a thick layer of nerdy, undesirable heft that I saw right through from beginning to end.
Blackhat
Michael Mann’s Blackhat is a fascinating enigma, a film that has only grown more compelling in the years since its release despite being weighed down by some glaring imperfections. The movie, a cyber-thriller with a globetrotting scope, plays like a fever dream of Mann’s stylistic obsessions, blending high-octane action, meticulous visual craft, and an indulgence in the absurd. It’s a film that refuses to conform, and for that reason, it has become one of the most divisive works of the 2010s.
No Country for Old Men
Revisiting No Country for Old Men on its 4K Criterion Collection release reminded me why this film stands among the greats—not just of 2007, not just of the 21st century, but of all time. It’s Joel and Ethan Coen at their most precise and uncompromising, blending their dualistic approach to filmmaking: the sharp nihilism of their darker works with the understated, situational humor that defines their lighter outings. It’s a masterpiece of tension, craft, and existential dread, all wrapped in a narrative as sparse and unrelenting as the Texas landscape it inhabits.
READ MORE: Crime 101 (2026), Movies Like Nightmare Alley, Movies Like No Country for Old Men
