Story: In a bid to end crime forever, the American government plans an ambitious technology that broadcasts a mind-altering signal, making it impossible for anyone to commit unlawful acts. But just before it’s implemented, Bricke (Édgar Ramírez) a bank robber attempts the biggest heist of the century.

Review: ‘The Last Days of American Crime’ begins with an explosive scene, literally, as Bricke goes on a killing spree to avenge his brother’s death. But as he meets Kevin Cash (Michael Pitt) - a sociopathic son of a gangster and his fiancé Shelby Dupree, a new plan takes shape. It’s a heist of 30 million dollars and as Kevin puts it, this new plan can serve as revenge for Bricke and legacy for himself. Only it’s not as simple as it sounds. Before their plan is set in motion, the trio have to deal with love, lies, deceit and a whole lot of past. Based on a 2009 graphic novel with the same name, the film takes a lot of time to get to the point. And not all of it is well-utilised. The idea of a deafening signal that can stop criminals in their tracks, is as fascinating as it is far-fetched. It may seem like fun in a comic book, but needs far more conviction when executed in a feature film. Director Olivier Megaton gives the idea the larger-than-life cinematic canvas it deserves, but fails to make it convincing. Multiple sub-plots and repetitive conflicts make for a tedious and convoluted screenplay with scenes that are often left unexplained. Writer (Karl Gajdusek) indulges his characters in graphic violence that seems unrealistic and unsurvivable. Some half decent performances and a few thrilling action pieces, especially towards the climax are the only redeeming factors.

Édgar Ramírez is good as the stoic and brooding Bricke, yearning for revenge and love, more than the money. He pulls off the physically demanding role with intensity and restraint despite the obvious loopholes in the writing. Anna Brewster as a hardcore computer hacker Shelby isn’t convincing and her flimsy backstory doesn’t help. Her chemistry with Édgar is underwhelming and their multiple intimate scenes are, at best, lacklustre. Michael Pitt manages to have some fun with his eccentric character, who is more paranoid about his Armani jacket being ripped than being dead. Watch out for the scene where he meets his father and sister. It is equal parts inappropriate and unpredictable.

The film’s biggest bane is its runtime that needed to be shorter and filled with more action than clichéd characters and confusing scenes. In one such scene, a senior FBI officer orders his subordinate to take the final shot saying, “I am bored now.” Our thought, precisely.