Directed By Lorene Scafaria
Starring – Jennifer Lopez, Constance Wu, Julia Stiles
The Plot – Inspired by the viral New York Magazine article, the film follows a crew of savvy former strip club employees who band together to turn the tables on their Wall Street clients.
Rated R for pervasive sexual material, drug content, adult language and nudity
– Cross brand appeal. “Hustlers” is the perfect date movie, in that it offers plenty for both sides of the gender coin to thoroughly invest in. For the ladies, it’s a story of female empowerment, and lashing back against a system and its corrupt brokers, for the roles they played on nearly bringing our society down whole. For the guys, it’s obviously the benefit of seeing so many beautiful women showing off their stage presence, balancing sexy and classy handedly with very little nudity shown throughout the picture. This aspect got my foot in the door, but as the film continued, I found myself further investing in the beats and conflicts of the characters, putting to bed any pre-conceived notions about me supposedly knowing what kind of movie I was getting myself into.
– Storm of Scafaria. It’s perfect that this film is held together by female hands because in addition to battling back against stereotypes for the depicted career choice, at its core it’s really a story of female control, and the consequences that this plays on male masculinity. Lorene is brilliant in getting to know her characters first, but it’s her presentation that truly grips this story into unconventional methods, often feeling like the female “Wolf of Wall Street” for all of the depth contained inside. There’s also a devilishly delicious amount of humor that compliments the dramatic elements superbly, and rides the waves of sharp shift effortlessly because someone as capable as Lorene emits irony in these extraordinary situations. This is a director who understands the psychology of being a mother, a friend, a provider, and even a fighter, and it’s in those many molds where she grants us one of the more compelling outlines for female conflicts than we’re typically used to, establishing these protagonists as the shade of grey between good and bad.
– Moral compass. One of the things concerning me about this film heading into it was how much compassion I would have for a group as dirty as the men they deceive, and thankfully the movie is responsible enough not to invest enough stock in one side or the other. Yes, you may feel inspired by the stand these women take against their suitors, but the screenplay presents us more than enough examples of what they’re doing being wrong, complete with a few of the ladies even questioning if they’ve crossed a line that they will never get back to. This gives the characters more of a human element than I was remotely expecting, and doesn’t feel like the events in the film are being sugar-coated for the convenience of buying them unearned empathy. A lot of wrong takes place during “Hustlers”, but the attention given to consequences and moments of self-clarity prove that it’s teaching a greater lesson than a get rich quick scheme, it’s really carving out a cautionary tale for taking life into your own hands.
– Ladies night. Everyone minus maybe Cardi B hits the mark brilliantly here, but it’s especially Lopez and Wu who easily steal the show. The most time is definitely dedicated to their characters, but Wu’s fiery emotional registry combined with Lopez’ guidance over her learning ladies reminds you that there’s no place you’d rather be. This is easily Jennifer’s best performance to date, and I say that because of the control she exerts over the attention of each scene, as well as the jaw-dropping impressive feats that she masters physically in such shape-shifting stage sequences. Even after a couple of decades of captivating us on-screen with her endless beauty, J-Lo proves that it’s her gravity over dramatic tension that proves she’s much more than a pretty face. Her and Wu are giving everything to their respective roles, and it’s the dynamic established early with a pivotal coat-sharing scene that perfectly sets the stage for the bond that develops between them.
– Style AND substance. Beneath this real life story that is playing out before our very eyes, we are treated to these mesmerizing sequences of flare being played out, bringing us wholeheartedly into the wild nightlife of a strip club and all of its seedy patrons. The neon lighting is a must for the kind of visual hypnosis that the ladies have over their prey, and the handheld camera compositions allow us to follow them every step of the journey, from pregame warm-ups to sales interactions with customers. Scafaria adds a touch of class and trance to the underbelly of New York nightlife, even preserving her nudity deposits during the moments when their inclusion doesn’t dominate or take away the focus of the scene. Ironically enough, there are two scenes involving nudity, and one is male nudity. Take from that what you will.
– The music. Completely brilliant choice of songs, as well as articulation in incorporation to make the music serve a storytelling gimmick of its own. On-stage, the song, dance, and essence of the environment play out seamlessly together, cementing an artistic consistency that fires on all cylinders. Off stage is where the real magic happens however, as the topical nature of a cohesive soundtrack adds a touch of humor and relevancy to what is being discussed by our characters in the foreground. For instance, there’s a scene where Wu’s grandmother discusses meeting Frankie Valli, and sure enough playing in the background is “Rag Doll” by the very same artist. This is far from the only example of this brilliance, but I would rather not spoil the charm and cerebral nature of its intention any further than I already have.
– Sound enhancements. During the third act, there are these measures taken during interview scenes that prove Scafaria has complete control over her story. It comes in the form of audible tweaks that will leave the audience wondering if the theater they watch it in is having technical difficulties, but actually its use plays perfectly into what is transpiring within the heat of the scene. One character shuts off a recorder, and suddenly we can’t hear the dialogue that is being exchanged between them, giving us a full immersion into the recorder serving as the gimmick that we are hearing played out in real time. Another example muffles a microphone during a sting being orchestrated, and it establishes another level of scene transformation that I never truly thought about prior to this movie. From this point forward, I will be looking for this in every movie where a character carries a mini microphone with them. Truly marvelous.
– Abrupt pacing. Easily the biggest problem that this film faces is the fact that it should’ve been longer. I say this especially during the first act of the movie because so many elements of dramatic tension are compartmentalized and rushed, leading to diminished returns later on when a scene reaches for them. The second half of the movie definitely slows it down more satisfyingly, but there are still angles within the holes being filled in with the investigation that don’t feel fully rendered, leaving us with a neat and tidy explanation of a real life story where there’s definitely more to it, especially since I’ve read the article that the movie is based on. If this film lands around two hours, it can take its time with more of highs, which would further flesh out the tragedy of the lows, and allow us the audience to see the stark contrasts in both extremes.
– Plot device. The central character in the film is Constance Wu, who is being interviewed by Stiles’ reporter character to detail all of the events of her time with Jennifer Lopez’ character. My problem with this angle are some conversations and events that take place without Wu’s character ever being present at the scene. Because the film uses Wu as a storytelling device, we rely on her to present us all of the facts, but anyone with half a brain could sniff out the logic that persists in events transpiring where she is nowhere to be found. This did at least inspire me to seek out the real story for myself, but establishes a theory that the film would work better if Stiles was interviewing every girl involved in the scam, for the sake of our believability. That way, the events would seem pieced together by four different voices, instead of one whose knowledge can only be justified by everyone telling her every single word and every single action after it happened?
– Cardi B. This easily feels like a written-in cameo at the last minute, as the dialogue and movements of the character feel unlike any other one within the confines of the film. Her line reads would be blamed entirely on her lack of character transformative acting, but the lines themselves are tacky and cliche’d to the point of feeling like lyrics from one of her songs. In addition to this, her lack of screen time in only three scenes throughout the film gives us this unshakeable feeling that her name was put on the poster to manipulate her fans into thinking that this was her first big screen role, and while that sentiment is true to a degree, it’s such a minimally diminishing role that she might as well be one of the many background dancers who don’t mumble a single line of dialogue throughout the film. At least then her tongue constantly hanging out wouldn’t have a soundtrack to accommodate it.
My Grade: 7/10 or B-