However, the public remains on their appetite in front of the timid and rarely funny gags that emanate from it.
The female remakes are in the air of time thanks to the rereadings of Ghostbusters and Ocean’s Eleven. Just like those who join the #metoo movement with women who decide to take revenge on certain men. This is what The Hustle proposes, an unfortunately dated and harmless comedy.
The story, however, had the necessary teeth to skin. When a professional scammer (Anne Hathaway) teaches the basics of the trade to a scammer (Rebel Wilson), anything can happen. However, the public remains on their appetite in front of the timid and rarely funny gags that emanate from it.
Whether the duo is an ally or an enemy, chemistry doesn’t work. Rebel Wilson makes a ton of it in his way of using the slapstick, while Anne Hathaway prefers higher pitches.We’re a long way from the delicious Long Shot. Despite the many role-plays that the characters must perform, their interpreters remain in the most expected and limited register possible.
The British director Chris Addison’s masterpiece is not there to save the day. It takes more than fancy decor, casino music and an alert montage to leave its mark.Especially in a first anonymous feature film whose visual aspect disappears at the expense of gags and dialogues.
The Hustle is also a remake of Dirty Rotten Scoundrels (which was already a variation of Bedtime Story where Marlon Brando and David Niven shone), taking over 95% of his theatrical canvas. The rest turns out to be some odd and sometimes dubious additions (the session on the water) of Jac Schaeffer, who was hired to write the solo film of Black Widow.
The difference – in size – is that the feature film of 1988 made a lot of laughter. What happened in three decades for this virtually identical adaptation to leave ice? The characters are no longer as endearing, the situations lack charm and superficial humour has aged.
The tone of the whole also diverges. Although Steve Martin and Michael Caine were multiplying lies in order to conquer and steal their female victims, this was not a misogynistic work as the subtleties constantly added to the narrative.Rebel Wilson and especially Anne Hathaway do not allow themselves to be imposed. Except that their way of seducing the male people usually goes through their body. An instrumentalisation of sexuality that raises eyebrows.
Perhaps the real joke of The Hustle is on the back of the spectator, who expects a worthy entertainment, with a tandem in full possession of its means. However, there is no audacity or personality that emerges from this creation.What is the point of wanting to treat women if it is simply to reproduce what has already been done, in addition to being less good, without offering anything genuine or edifying in return?