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The Hustle

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New version of a classic American comedy, The Hustle by Chris Addison, only succeed if you don't expect what the premise promised. Times of feminism. Empower the woman and relocate her to the opposite sex.

It is also time to review genders and position them under the new situation. In this sense, comedy is the genre that is being reviewed the most. Perhaps because ideologically it was always the genre that was most associated with women.

Banal, fun, sunny, cheerful, light, that's how women should be. To the remakes, it seems that the time also comes. This seems to be the only excuse for a premiere such as The Hustle, reviewing and reversing a comedy classic, which under the current prism, could be considered quite women-oppressing.

Think if today you would want to make remakes of the Olmedo and Porcel movies, or the Zeta Brigade saga (We don't mean sequels conceptually equal to the original ones).

Something like this is the dilemma with which the people of The Hustle found themselves, how to face it? This film is a remake of Dirty Rotten Scoundrels; which in turn is the remake of Bedtime Stories.

In both, two men are presented, both very clever, who take advantage of seized women with money who are scammed through funny seduction games. Everything so that in the end the tortilla is turned, but the message has already been given.

The Hustle, with more or less changes, counts the same, but changing the sexes. That would be all its so claimed feminism. Something similar to what Heartbreakers did in 2001 without being a remake.

The plot is very simple, two women of different social classes, meet accidentally during a trip. Both are scammers, but quite different from each other. Penny is abrupt, clumsy, few manners, almost a beginner, and lower class.

Josephine is cunning, refined, educated, elegant, and high class. One is Rebel Wilson and the other is Anne Hathaway, guess which is which. Neither of them is doing particularly badly, but they realize that together they could do much more, so they decide to join forces for a scam that will take place in the South of France.

Of course, Josephine must first teach Penny some techniques. There will be some more laps, all quite predictable and simple.

What is the problem with The Hustle? that it falls prey to its own trick. The idea is to reverse the story and make it feminist. In fact, its original title was Nasty Women, about a phrase used by Donald Trump to denounce Hillary Clinton, with all her well-known misogyny. But for some reason, the title was changed.

In a minimum analysis, we will see that the story presents two women who believe that they are successful and above men, but whose greatest aspiration is to live on them. Highlights very different values ​​between social classes, talks about fellowship/sorority, but raises a kind of subordination.

The most rude thing is that most of the jokes come from Wilson's physique and her tacky personality, pondering an alleged femininity of patriarchal preconception. Therefore, it seems that his feminist stance of changing male roles for female, was not so cunning.

The Hustle presents problems of script, somewhat flat characters with a chemistry that does not work quite well because the same story does nothing but highlight their differences, and a sense of humor that rarely works that we are used to seeing in Rebel Wilson movies.

She has talent for comedy, but the roles that are given to her (almost) always are that of the "unfeminine" woman who causes grace for how "unfeminine" she is, and for her plump physical appearance.

She seemed to recover with the sparkling "Isn’t It Romantic" that did manage to keep her postulates, but she falls again. Although most of the humor lies with the Australian, Hathaway has her share of charm... And also her cliches of how a woman should be.

Both actresses have talents, but row in difficult terrain. The Hustle do not bore, but neither enthuse at all.

Average: 6.1 (824 votes)
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