Another Lively, Chaotic American Hustle

  Another Lively, Chaotic American Hustle

  Another Lively, Chaotic American Hustle

about Another Lively, Chaotic American Hustle
Related: 'In the Heart of the Sea’: Film Review

Although this may seem like the end of the rainbow to Joy, it’s actually the dark side of the moon, as myriad new obstacles are shoved in her path to success and self-vindication. The developments in the second half begin to illuminate what ultimately make the film seem somewhat arch and artificial, which is that things keep bouncing from the highest highs to the lowest lows with little in between. And it happens across the board: Both of Joy’s parents flip from utter misanthropy and negativity to the vicinity of bliss on the basis of new and highly unlikely romantic entanglements, Neil shuttles between being hero and villain, and a mystery man toward the end similarly exists only in extremes. Life may be a roller-coaster, but the repeated sudden changes in fortune that repeatedly turn lives upside down in both directions come to feel increasingly artificial in the telling.

As is always the case with Russell’s films, the actors are all wired, completely on their games. Once again, Lawrence rises to the occasion and takes charge, bringing to life a character who fights the fight for several decades and comes out on top. She reliably brings grit and conviction to her characterization, but what’s missing is the illumination of an inner emotional life, even if it were just the acknowledgment that Joy has put a hold on romantic fulfillment. Both of her parents have been accorded this dimension, credibly and even touchingly in the case of Rudy and very amusingly, if not entirely convincingly, with Terry. If Joy has ruled out amorous prospects, it would be good to know more about her attitude.

Reviwe : 

 De Niro moves beyond caricature to provide a full-bodied portrait of a skeptical man whose one great strength is an inextinguishable romanticism. He’s wonderfully matched by Rossellini, who has seldom been this warm, appealing and self-possessed onscreen. Both Madsen and Ladd are a hoot as distinctively eccentric women and Rohm is unsettling as a reliable purveyor of negativism. Ramirez engagingly reveals his limited character’s sweet heart and soul, while Cooper smoothly handles his quicksilver corporate showbiz character.

Danny Elfman’s punchy score is complemented by some sharply chosen musical samplings, which only partially papers over the film’s many jumpy and abrupt transitions as it lurches through the years and the characters’ wildly changing life circumstances.
 Review by: