Ah, the thrill of seeing a giant cutout of an upcoming movie splashed across town. This time, it features the dynamic duo of Anne Hathaway and Rebel Wilson—celebrities of such magnitude that even their shopping receipts should be on display at the Louvre. Naturally, I leaped at the chance to preview “The Hustle,” a precious Wednesday night invitation before the masses flocked to cinemas.
Marketed as a knee-slapping comedy about two female con artists of polar societal standings—one a dignified swindler, and the other a, erm, ‘down-to-earth’ hustler—the film promises to tip the scales against the dastardly men who’ve crossed their paths. Spoiler alert: the humor doesn’t hit as hard as one might hope.
But let’s get real; Hathaway deserves accolades for managing to keep a straight face while sharing the screen with Wilson.
You see, “The Hustle” is a gender-swapped twist on the 1988 classic “Dirty Rotten Scoundrels,” which was already a remake of “Bedtime Story” from ’64, starring none other than Marlon Brando. A tale as recycled as a Starbucks cup—how inventive!
We’re led to believe we’re witnessing a modern-day Caine and Martin shenanigans, a fresh take devoid of the tiresome love interest trope that often ensnares female leads. How revolutionary, I thought. If only the script hadn’t leaned into the status quo harder than I do into my couch on a lazy Sunday.
In Hathaway’s role as a posh con artist operating in Beaumont-sur-Mer, France, we find her charming and adept at swindling rich men—$23 million worth of swindling, to be precise. She plays a character so sophisticated that it’s almost an art form. Some reviewers, however, have labeled her British accent absurd. Clearly, some are aiming for a *Pride and Prejudice* vibe and missed out on the irony altogether.
Meanwhile, Rebel Wilson’s character, Penny Rust, lures men in like a catfish on a fishing line, proving that deception is indeed an art. Their meeting happens on a train—how original. Cue a rivalry, then a partnership, and the movie veers into familiar territory. You’ll have to see it if you want to know how it all plays out. I’d say ‘stay tuned,’ but we’re not watching a soap opera.
Now, about those missed opportunities for women to truly shine: There are lines suggesting women must be ten times the con artist just to make it on par with men, as if navigating life without a GPS wasn’t hard enough. Or that being overweight makes you undesirable. Let’s just say, the ending left me feeling like both women had their dignity mugged right before the credits rolled. In 2019, one would think we could transcend cliché and embrace a bit of character growth.
Mark your calendars, folks—“The Hustle” opens on May 10. Just enough time for us to think critically about why we continue to watch films that toy with our expectations and our intelligence.
