The Last Days of American Crime (2020)

What makes The Last Days of American Crime worth your time is its deliciously pulpy premise: a country racing toward a government signal that will make crime literally unthinkable, and a crew of desperate people trying to beat the clock with one final, reckless score. Olivier Megaton shoots the near-future like a pressure cooker—neon-lit, sweaty, and volatile—so even the quieter moments feel like they’re vibrating with impending chaos. Edgar Ramírez brings a worn, human edge to the would-be mastermind, while Michael Pitt plays volatility like a live wire, and Anna Brewster adds a tough, intriguing countercurrent that keeps the movie from feeling like just another heist-thriller. It’s not for the squeamish or the easily offended (this is a hard R/TV-MA ride with brutal violence, heavy profanity, and some nudity), but if you’re in the mood for a slick, nasty, end-of-the-world crime sprint, it delivers that grindhouse adrenaline in big gulps.

The Last Days of American Crime is clearly aiming for a slick, high-concept dystopian heist where the ticking clock (a government signal that makes crime impossible) should crank the tension to eleven. The problem is it’s a long sit with messy pacing and thin character work, so the “one last score” momentum keeps stalling in noisy, often incoherent detours. If you’re sensitive to extreme violence, relentless profanity, and a grimy, exploitative edge, this will feel less like edgy fun and more like punishment. On the upside, there are a few stylish action beats and a decent central premise, but unless you’re very forgiving about plot logic and length, your time is probably better spent elsewhere.