
Crime Story
2021

2018
Director
Matt Gambell
Runtime
102 minutes
Average Rating
No ratings yetSynopsis
Marcus King, an old school gangster, a crime lord, has left behind old school crime. He has manoeuvred his business into the leafy lanes of the suburbs and now, in place of pimps and dealers, his team consists of the best graduate geeks that money can bribe. No brothels, no casinos and no drugs - he's dragged serious, organised crime well and truly into the twenty-first century. From credit card cloning and skimming to Internet spamming and scamming, he is the king of Cyber Land.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film offers no explicit evidence of LGBTQ+ characters or non-cisnormative identities. The narrative focus remains centered on the evolution of criminal methodology.
Gender Representation
The story moves away from hyper-masculine physical tropes by replacing traditional muscle with intellectual geeks. However, it is unclear if this shift subverts gendered leadership roles.
Racial & Ethnic Diversity
The narrative prioritizes class and educational status over racial identity. While the digital setting implies a globalized landscape, there is no evidence of high-agency characters of color.
Religious & Cultural Diversity
The film deconstructs traditional institutions by framing old-school crime as obsolete. It portrays crime as a sophisticated, intellectualized pursuit, suggesting a degree of moral relativism.
Disability Representation
There is no information regarding the inclusion of neurodivergent characters or individuals with physical disabilities. The mention of geeks remains speculative regarding neurodiversity.
Strengths
Areas for Improvement
AI Analysis
King of Crime distinguishes itself by replacing the physical brutality of traditional gangster archetypes with a modernized, technocratic framework. The shift from street-level dealers to highly educated specialists disrupts the conventional expectation of the criminal underworld. While the film offers a sophisticated critique of power structures, it lacks verifiable demographic diversity. The narrative focuses on intellectual agency and systemic exploitation rather than explicit representation of marginalized identities. Ultimately, the work provides a narrow but interesting lens on cultural subversion through the lens of digital-age criminality.

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