WARNING: Potential plot spoilers ahead.
Originality is rare in Hollywood these days. This is clearly evident in the emerging trend of taking true stories and injecting them with wacky dark comedy in an attempt to charm audiences. Judging by the trailer, The Wolf of Wall Street will attempt to succeed with a prototype that first fell short in Pain & Gain and now sadly, with American Hustle. A clue of the picture's direction is given right before the opening scene when the words "some of this actually happened" appear on the screen.
David O. Russell adopts the 'If it ain't broke, don't fix it' approach to casting, with several of the actors having worked with him before. It was a decent decision, as these performances, along with Russell's slick, fast-paced directing style, save the film from pure mediocrity. The basic subject matter, of which it is based, provides just enough substance to not let the style smother the film completely. It is just a pity that the much of the focus was aimed at the parts that didn't actually happen.
The story follows two con artists (Christian Bale and Amy Adams) who are, through the errors of their ways, recruited by an ambitious FBI agent (Bradley Cooper) to use their skills to implicate politicians and mafia in accepting bribes. From the opening moments there are threats that Bale, along with his comb over and pot belly, will overpower the film with another huge performance. However, it was the over-the-top 1970s fashion and decor that intoxicated the movie, compared to quite an understated offering from Bale. The entire cast excels, with Jennifer Lawrence particularly shining as Bale's manipulative, but foolish wife.
The film begins from the middle of it's story arc, helping to provide clarity on the dynamic between the leading characters. It then slickly tells the back story, cleverly sharing the narration between Bale, Adams and Cooper. The quick pace and intrigue continues up until the opening scene is revisited. Hereafter, the tone of the film changes, as proper plot development is sacrificed for humour.
Ultimately, it is the script that proved the film's weakest component. It had the audience laughing, particularly the ongoing gag about ice-fishing between Cooper and his boss, but the subject matter deserved a more serious delivery. Despite the genre identity crisis, American Hustle is likely to do well in the upcoming award season (particularly the actors), but it is not a film I will look back on fondly in years to come. Worth a watch on the small screen, but I wouldn't recommend parting with your money at the cinema.
Neil M. (Grand Thanks Reviews)
Originality is rare in Hollywood these days. This is clearly evident in the emerging trend of taking true stories and injecting them with wacky dark comedy in an attempt to charm audiences. Judging by the trailer, The Wolf of Wall Street will attempt to succeed with a prototype that first fell short in Pain & Gain and now sadly, with American Hustle. A clue of the picture's direction is given right before the opening scene when the words "some of this actually happened" appear on the screen.
David O. Russell adopts the 'If it ain't broke, don't fix it' approach to casting, with several of the actors having worked with him before. It was a decent decision, as these performances, along with Russell's slick, fast-paced directing style, save the film from pure mediocrity. The basic subject matter, of which it is based, provides just enough substance to not let the style smother the film completely. It is just a pity that the much of the focus was aimed at the parts that didn't actually happen.
The story follows two con artists (Christian Bale and Amy Adams) who are, through the errors of their ways, recruited by an ambitious FBI agent (Bradley Cooper) to use their skills to implicate politicians and mafia in accepting bribes. From the opening moments there are threats that Bale, along with his comb over and pot belly, will overpower the film with another huge performance. However, it was the over-the-top 1970s fashion and decor that intoxicated the movie, compared to quite an understated offering from Bale. The entire cast excels, with Jennifer Lawrence particularly shining as Bale's manipulative, but foolish wife.
The film begins from the middle of it's story arc, helping to provide clarity on the dynamic between the leading characters. It then slickly tells the back story, cleverly sharing the narration between Bale, Adams and Cooper. The quick pace and intrigue continues up until the opening scene is revisited. Hereafter, the tone of the film changes, as proper plot development is sacrificed for humour.
Ultimately, it is the script that proved the film's weakest component. It had the audience laughing, particularly the ongoing gag about ice-fishing between Cooper and his boss, but the subject matter deserved a more serious delivery. Despite the genre identity crisis, American Hustle is likely to do well in the upcoming award season (particularly the actors), but it is not a film I will look back on fondly in years to come. Worth a watch on the small screen, but I wouldn't recommend parting with your money at the cinema.
Neil M. (Grand Thanks Reviews)