They will set an extortion on Frank Dawson, a real estate man, by kidnapping his wife Mickey, and then asking for a $1 million ransom.

From a friend they have compromising info on Frank's secret bank account in the Bahamas and his shady real estate affairs there.

Mickey is locked up in a bedroom at Richard's, who is a Nazi admirer, and she has to wear a blindfold so she can't see the kidnapper's faces when they give her food or she has to go to the bathroom.

Anyway, he is perfectly fine with his wife being kidnapped and possibly killed, so he doesn't have to pay a ransom or any spousal support in the future.

Louis talks with Mickey about the ransom, about Frank's hidden money, the real estate development, and Melanie.

The website's consensus reads: "It may not stand shoulder-to-shoulder with the best Elmore Leonard adaptations, but Life of Crime has enough ambling charm—and a sharp enough cast—to get by.

[11] Catherine Shoard of The Guardian praised Schecter for his "unexpectedly winning take" on Leonard's novel and the "top-notch" performances from the cast, highlighting Aniston for her "deft comic timing" and Hawkes for being "surprisingly convincing" in his role, concluding that: "This is a good-natured, show-not-tell treat, almost bloodless fun.

"[12] Glenn Kenny of RogerEbert.com called it "a pretty engaging, and [pretty] authentically Leonardesque, comedic crime movie" and praised the ensemble cast's performances, singling out Aniston's part for being "measured, engrossing, and empathy-generating" without any "sitcom-style" mannerisms, concluding that: "The amusing twists and turns of the script, the multiple instances of bracing humor and consistent tension, help the cast bring this small-scale thriller to the place it clearly wants to be.

"[13] Ben Kenigsberg of The New York Times wrote that it pales in comparison to Jackie Brown and found Bey to be "droll" as Ordell Robbie, but called it a "late-summer caper movie" that settles into its groove and offers an "intriguing contrast of actors and a director taking a different approach to known material.

"[14] Michael O'Sullivan of The Washington Post commended Hawkes and Bey for doing "an adequate job" portraying their characters but felt the story they inhabit was "noticeably sluggish and spiritless" compared to Tarantino's film, and lacked a sense of urgency in its overall setup.

[15] Steve Macfarlane of Slant Magazine criticized Schecter for crafting his film with "obnoxiously self-aware period detail" and a "too-rich soundtrack" when compared to American Hustle and felt the performances had an "undeniably comparable dramatic weightlessness" to them, highlighting Aniston for being miscast in her role and giving "a long, bland starring performance in an Indiewood dramedy.

"[16] Entertainment Weekly's Chris Nashawaty gave the movie a "C−" grade, calling it one of the worst Leonard adaptations based on Schecter's "lifeless" filmmaking, and backhandedly complimenting its "kitschy" production for distracting viewers away from the rest of the film.