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Hustlers (2019)

Think of it as a feminist companion piece to The Wolf of Wall Street or The Big Short. Inspired by a true story, Hustlers follows a diverse group of strippers who wine and dine Wall Street middlemen and execs, feeding off the spoils of their feeding frenzy, and then eventually upping their game, drugging them and fleecing them for one wild night that they’ll be too embarrassed to report that next morning. The story grabs you early on and is stuffed full of interesting details about the ins and outs of the stripping industry as well as how to service and manipulate the wealthier men who frequent said clubs. Hustlers becomes a combination of a crime caper, a con artist thriller, and a class-conscious drama about the haves and have nots, but it really becomes a showcase for the talents of one Jennifer Lopez, a woman who does not seem at all close to her fifty years on this planet (her introduction is quite the jaw-dropper). Lopez plays Ramona, the alpha leader of the group, a loving single mom with a healthy distaste for the hand she’s been dealt. She is sensational and delivers the best performance of her long career. Even when she’s doing bad things, even when she’s taking bold risks, there is a moral center to that woman, an unbreakable heart for the people she chooses to let into her life, and it does not budge, which was a poignant note. In many ways she is more the main character than Constance Wu (Crazy Rich Asians), a figure that serves as more entry point than fully-fleshed out character. I enjoyed learning the various tricks of the trade writer/director Lorene Scarfaria (Seeking a Friend for the End of the World) peppers throughout with her love of montage and stylish transitions, but it really picked up after the 2008 financial crash where the women cross over into direct criminality. At first they figure they’re just skipping ahead, drugging with MDMA rather than waiting for their marks to get drunk (“Drunk enough to order the bill but sober enough to sign the check,” Ramona cautions). Then things get escalated and sloppy and the women are in trouble. It’s a fun ride watching the ladies get theirs, and I was challenged to muster much of any sympathy for their Wall Street marks. Part of me wishes more women would be inspired by this movie and follow suit, fleecing the people who fleeced our economy. The movie rides that wave of the good times you know can’t last, prolonging the fall we’re all anticipating coming. The supporting characters can be a bit weak; several of the other girls involved in the scheme merit one note of description, and some of the humor feels a bit out of place, like a running joke where one of the women nervously vomits often (this is like her single character trait, and it’s weird). It’s also likely the stripper-centric movie with the least nudity I’ve ever seen, thanks to Scarfaria treating a sensational story with candor rather than exploitation. Hustlers is a glitzy drama that will entertain you with its flash and then surprise you with its edge. And all hail, Jennifer Lopez, ageless wonder and underrated actress getting her due.

Nate’s Grade: B

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Seeking a Friend for the End of the World (2012)

1800It’s the end of the world as we know it and I oddly felt fine… which is not a good sign for your apocalyptic movie. Seeking a Friend for the End of the World is a peculiar thing, all right. It takes place in the last three weeks of the human race. And lest you think the film wimps out on the promise of its title, think again. I was bemused for the first forty minutes, where writer/director Lorene Scafaria indulges in a series of one-scene vignettes of how humanity comes to terms with the certainty of annihilation. There’s an adult party where people joyfully try heroin, a hit man-for-hire service to bring back some of the mystery of death, and a restaurant where all the workers are spaced out on Ecstasy. I found each of these moments to be funny and a well though-out extension of the premise. But then the film’s diversions give way to the rom-com of our main characters, played by Steve Carell and Keira Knightley as your standard manic pixie girl. And the more time I spent with them the more I found myself not getting engaged. My emotional empathy was kept to a minimum; they’re nice people and all but I didn’t find them that interesting. The resulting movie feels like one of the weakest avenues given the premise. I credit Scafaria for not wimping out in the end, but as these characters faced oblivion together, I felt little emotional stirrings in my chest.

Nate’s Grade: C+

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