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2014-01-15 17:19:46 UTC
Watch American Hustle Online
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Set in a similarly colorful and equally absurd universe of seedy
over-dramatized miscreants, American Hustle relays the mostly-true details o
the controversial ABSCAM case, admitting up front in a title card that onl
“some of this actually happened.” Playing fast and loose with the facts isn’
the issue dogging Hustle, however. The picture can’t switch into a higher gea
as Russell maneuvers this sluggish crime comedy through grotesque, cartoonis
but pointless transitions as his black comedy searches for a laugh.
Decked out in the appropriately hideous attire of 1978, the FBI – led b
maverick, sociopathic agent Richie DiMaso (Bradley Cooper) – stage an elaborat
long con meant to ensnare numerous corrupt politicians, including a
opportunistic New Jersey mayor (Jeremy Renner), a handful of greedy U.S
congressmen, and a crooked senator. To help him pull off this complicate
scheme, DiMaso blackmails Irving Rosenfeld (Christian Bale) and Sydney Prosse
(Amy Adams), low-level grifters who were getting “fat” off of easily dupe
Jersey entrepreneurs.
Like most hastily hatched schemes, the plan is designed to be simple. What
boring movie that would make. DiMaso’s strategy eventually grows unwieldy
targeting those with broader political influence. In turn, the stakes also rais
… putting Rosenfeld and Prosser in boiling-hot water while also threatening th
well being of numerous seemingly innocent bystanders (including Rosenfeld’
wife, played by Jennifer Lawrence).
The Goodfellas reference isn’t by accident. Russell employs his usual suspects
but digs deep into Scorsese’s trademark bag of tricks for Hustle, bending hi
distended story around filmmaking gimmicks we associate with the legendar
director (but ones that, admittedly, do not belong to Scorsese, alone).
The biggest similarity has to be the picture’s over-reliance on narration, wit
Hustle characters talking – and talking, and talking – us through a
unnecessarily convoluted script. Con games require exposition. The last thing
director wants to do in a bait-and-switch story is leave the audience in th
dust. But Hustle, adopting the breathy tone of a 1940s noir, explains an
explains until the unusual becomes mundane. And given the amount of “unusual” o
display here, that’s saying a lot.
Russell, in the process, does continue to establish his own film vocabulary
Hustle has as much in common with the blue-collar bombast of The Fighter as i
does with Scorsese’s gaudy, dangerous Casino. The camera violently pans an
scans, zooming in on a character’s hands, or tracking a briefcase filled wit
money as if it contains a bomb, ready to explode. As he has done in movies past
Russell laces a bed of recognizable period tunes behind his action. Yet eve
that’s a mixed bag. He makes good use of Elton John’s Goodbye, Yellow Bric
Road, then nearly torpedoes Lawrence’s burgeoning career by asking her to sin
Wings’ Live and Let Die in a cringingly embarrassing scene. Hustle actuall
lacks that one memorable marriage of scene and song, a sequence that drills it
way into the core of a moment the way Led Zeppelin’s What Is (And What Shoul
Never Be) captured the heartbreaking confusion of Cooper’s vicious breakdown i
last year’s Silver Linings Playbook. Then again, Hustle often seems to b
chasing the deliberately messy structure that worked so well in Playbook bu
doesn’t gel here.
You end up noticing these glaring problems because Hustle ultimately doesn’
crackle with the energy needed to sell the con. The first hour passes by becaus
it’s easy to stay busy criticizing the period-glam of Russell’s garish cast. Th
“razzle dazzle,” as Lawrence’s suburban housewife describes it. The movie open
with an extended shot of a bloated Bale – looking like iconic producer Rober
Evans – doctoring the disastrous hairpiece that rests atop his head like rescue
road kill.
But it’s all window dressing. The clothes, the hair, the accents, the “science
oven” … they’re all distractions that are supposed to keep us entertained
because, without them, Russell’s holding an empty box of half-truths, silly
caricatures, and disappointing conclusions. The hustle ends up being on those
who came to American Hustle seeking substance behind the flash.
===================
<a href="http://movies.downloadvillas.com/american-hustle-2013/">Click Her
To Watch Full Movie</a> <<<===================
Set in a similarly colorful and equally absurd universe of seedy
over-dramatized miscreants, American Hustle relays the mostly-true details o
the controversial ABSCAM case, admitting up front in a title card that onl
“some of this actually happened.” Playing fast and loose with the facts isn’
the issue dogging Hustle, however. The picture can’t switch into a higher gea
as Russell maneuvers this sluggish crime comedy through grotesque, cartoonis
but pointless transitions as his black comedy searches for a laugh.
Decked out in the appropriately hideous attire of 1978, the FBI – led b
maverick, sociopathic agent Richie DiMaso (Bradley Cooper) – stage an elaborat
long con meant to ensnare numerous corrupt politicians, including a
opportunistic New Jersey mayor (Jeremy Renner), a handful of greedy U.S
congressmen, and a crooked senator. To help him pull off this complicate
scheme, DiMaso blackmails Irving Rosenfeld (Christian Bale) and Sydney Prosse
(Amy Adams), low-level grifters who were getting “fat” off of easily dupe
Jersey entrepreneurs.
Like most hastily hatched schemes, the plan is designed to be simple. What
boring movie that would make. DiMaso’s strategy eventually grows unwieldy
targeting those with broader political influence. In turn, the stakes also rais
… putting Rosenfeld and Prosser in boiling-hot water while also threatening th
well being of numerous seemingly innocent bystanders (including Rosenfeld’
wife, played by Jennifer Lawrence).
The Goodfellas reference isn’t by accident. Russell employs his usual suspects
but digs deep into Scorsese’s trademark bag of tricks for Hustle, bending hi
distended story around filmmaking gimmicks we associate with the legendar
director (but ones that, admittedly, do not belong to Scorsese, alone).
The biggest similarity has to be the picture’s over-reliance on narration, wit
Hustle characters talking – and talking, and talking – us through a
unnecessarily convoluted script. Con games require exposition. The last thing
director wants to do in a bait-and-switch story is leave the audience in th
dust. But Hustle, adopting the breathy tone of a 1940s noir, explains an
explains until the unusual becomes mundane. And given the amount of “unusual” o
display here, that’s saying a lot.
Russell, in the process, does continue to establish his own film vocabulary
Hustle has as much in common with the blue-collar bombast of The Fighter as i
does with Scorsese’s gaudy, dangerous Casino. The camera violently pans an
scans, zooming in on a character’s hands, or tracking a briefcase filled wit
money as if it contains a bomb, ready to explode. As he has done in movies past
Russell laces a bed of recognizable period tunes behind his action. Yet eve
that’s a mixed bag. He makes good use of Elton John’s Goodbye, Yellow Bric
Road, then nearly torpedoes Lawrence’s burgeoning career by asking her to sin
Wings’ Live and Let Die in a cringingly embarrassing scene. Hustle actuall
lacks that one memorable marriage of scene and song, a sequence that drills it
way into the core of a moment the way Led Zeppelin’s What Is (And What Shoul
Never Be) captured the heartbreaking confusion of Cooper’s vicious breakdown i
last year’s Silver Linings Playbook. Then again, Hustle often seems to b
chasing the deliberately messy structure that worked so well in Playbook bu
doesn’t gel here.
You end up noticing these glaring problems because Hustle ultimately doesn’
crackle with the energy needed to sell the con. The first hour passes by becaus
it’s easy to stay busy criticizing the period-glam of Russell’s garish cast. Th
“razzle dazzle,” as Lawrence’s suburban housewife describes it. The movie open
with an extended shot of a bloated Bale – looking like iconic producer Rober
Evans – doctoring the disastrous hairpiece that rests atop his head like rescue
road kill.
But it’s all window dressing. The clothes, the hair, the accents, the “science
oven” … they’re all distractions that are supposed to keep us entertained
because, without them, Russell’s holding an empty box of half-truths, silly
caricatures, and disappointing conclusions. The hustle ends up being on those
who came to American Hustle seeking substance behind the flash.