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Small Crimes

Small Crimes

2017

TV-MA

Director

E.L. Katz

Runtime

95 minutes

Average Rating

No ratings yet

Synopsis

A disgraced former cop, fresh off a six-year prison sentence for attempted murder, returns home looking for redemption but winds up trapped in the mess he left behind.

Where to Watch

Diversity & Representation

Overall Score

3.6/10

Limited


Category Breakdown

LGBTQ+ Representation

Limited

The film lacks evidence of non-cisnormative identities or narratives that critique heteronormativity. It appears to follow a traditional crime-drama framework centered on a singular male protagonist.

Gender Representation

Fair

The story centers on a disgraced former cop, a role tied to masculine archetypes. It remains unclear if the film subverts or reinforces traditional gender hierarchies through its supporting characters.

Racial & Ethnic Diversity

Limited

The narrative does not indicate a diverse or non-Anglo-Saxon majority cast. It follows a conventional crime-drama structure that often defaults to homogeneous casting.

Religious & Cultural Diversity

Fair

Themes of redemption and incarceration touch upon the friction between individuals and social institutions. However, the film lacks an explicit critique of Western or capitalist structures.

Disability Representation

Minimal

There is no verifiable evidence regarding the inclusion of characters with physical, neurodivergent, or mental health disabilities.

Strengths

  • Explores gritty, character-driven realism through the lens of personal failure and systemic friction.

Areas for Improvement

  • Lacks intentional intersectional representation or the inclusion of non-cisnormative identities.
  • Does not provide evidence of diverse racial or ethnic casting beyond traditional crime-drama norms.
  • Fails to incorporate characters representing physical, neurodivergent, or mental health disabilities.

AI Analysis

Small Crimes operates within a traditional crime-drama framework that prioritizes individualist redemption over intersectional narrative architecture. The focus remains heavily on a singular male protagonist navigating the personal consequences of his past, which limits the scope of social representation. The film relies on established genre tropes, such as the disgraced law enforcement officer, which often reinforces standard masculine archetypes. Without specific evidence of diverse casting or non-normative identities, the production feels rooted in a conventional, homogeneous storytelling style. Ultimately, the work lacks the visible markers of intentional systemic deconstruction. It functions as a character-driven study of personal moral relativism rather than a vehicle for exploring broader social or cultural hierarchies.

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