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The Hustle: Movie Review

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Directed by – Chris Addison
Produced by – Roger Birnbaum, Rebel Wilson
Starring – Anne Hathaway, Rebel Wilson, Alex Sharp, Dean Norris

“The Hustle,” a con parody featuring Anne Hathaway and Rebel Wilson, is light and slight and absolutely forgettable when it’s finished. It is the sort of motion picture you watch on a plane—maybe while in transit to somewhere sumptuous and loosening up like the South of France, the film’s setting—while at the same time falling all through rests.

Director Chris Addison’s change of the 1988 Michael Caine-Steve Martin parody “Dirty Rotten Scoundrels,”— itself a revamp of the 1964 David Niven-Marlon Brando satire “Bedtime Story”— takes a fundamental recipe and gives it a sexual orientation swap. Several extortionists con one another, at that point they understand they can con individuals out of considerably more cash on the off chance that they group up, at that point they understand they can’t confide in one another (on the grounds that, duh, they’re rascals) so they devise a challenge to see who can con a clueless tech very rich person (Alex Sharp) out of $500,000.

The plot doesn’t generally make a difference here. Not at all like an “Ocean’s” film, for instance, the consistently constructing rush of viewing a brassy arrangement meet up piece by piece isn’t the point. “The Hustle” is progressively scattershot. We are dropped into the center of a trick as the women are moving toward their most recent focus with whatever absurd outfit, complement or backstory they’ve concocted off-screen.

“The Hustle” wavers most is standing out it botches a chance to own a genuine expression with its sex flipped premise. The characters state they do what they do to settle the score with the men of the world who’ve abused ladies for a really long time.

They’re essentially taking what’s theirs, what’s long late. What’s more, they’re utilizing conventional thoughts of glorified female sexuality to do it: Josephine as a sultry sexpot, Penny as the stressed sister of a hearty blonde who’s supposedly in peril. Hathaway and Wilson are absolutely diversion for whatever comes their direction—to such an extent that you’ll wish they’d been managed the advantage of material with more chomp.


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