By Chris Luckett
4½ stars out of 5
Director David O. Russell has consistently
made great movies in the last decade, like I
Heart Huckabees and The Fighter.
Last year’s Silver Linings Playbook
was Russell’s best movie yet, setting the stage for his first masterpiece. American Hustle is not that movie, but
it’s still remarkably good.
Photo: Columbia Pictures |
Uniting cast members from Russell’s last
two movies, American Hustle tells the
tale of a con artist (Christian Bale), his wife (Jennifer Lawrence), his
mistress (Amy Adams), and the FBI agent after him (Bradley Cooper). For good
measure, Jeremy Renner is also thrown into the mix as a New Jersey mayor eager
to do what it takes to revitalize Atlantic City.
The plot of the movie spins itself out of
the Abscam FBI sting operation that took place in the ‘70s, which led to the
arrests of half a dozen corrupt politicians. When Agent Richie Di Maso (Cooper)
busts hustlers Irving Rosenfeld (Bale) and Sydney Prosser (Adams), he
negotiates a deal to let them go if they help the FBI take down some bigger
fish. Soon, as tends to happen in movies like this, everybody’s conning
everybody.
Photo: Columbia Pictures |
From a technical standpoint, American Hustle is flawless. The
costumes, make-up, soundtrack, and set design are all pitch-perfect to the
period, giving the movie the feel of a film that doesn’t just take place in the
1970s but feels like it was actually filmed then. The movie has a time-warp
effect, completely transporting you to the “Me” decade.
The best con artist movies, however, from The Sting to Confidence, always keep the plot moving quickly. If the story slows
down enough, audience members have time to start guessing how everything will
end, which kneecaps the twists and double-crosses that often punctuate movies
about tricksters. As long as the right hand keeps distracting someone, they
won’t notice what the left hand is actually doing.
Photo: Columbia Pictures |
American
Hustle, by making its characters as detailed and
elaborate as the plot, ends up being its own worst enemy. During slower scenes
of character development wherein the plot stands still, too much time is left
for audiences to piece together the ending. Russell seems so used to taking the
time to fully form his characters that he forgets to keep the audience
distracted with plot.
When the ending does come, it fails to
leave the impact of a powerful climax. The movie seems to simply deliver its
finale with a shrug and make a quick exit. So much of American Hustle is meticulously thorough, but if just some of that
attention had been taken away from the characters and setting and shown instead
to a more distracting plot, David O. Russell could have pulled off his greatest
trick yet.
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