Rush to see Chris Hemsworth and Daniel Bruhl in "Rush."

DVD and Streaming Review: “Rush”

Director Ron Howard’s “Rush” is a movie without a plot. There is no story an audience can follow. Instead it is a character study. “Rush” is about the rivalry between two of the best Formula One racers of their day. Both racers, James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Bruhl), were outstanding drivers but at polar ends of their approaches to driving and life. Mr. Howard has made a fascinating film about two interesting characters who disliked each other but also owed their success to one another.

               Hunt and Lauda first notice each other in a Formula Three race which is the lower division for Formula One. Their differences become apparent immediately when Hunt cuts through the pant forcing Lauda to spin out. Hunt wins the race. Lauda is not amused. A rivalry is born. Lauda is consumed with meticulous details concerning the track and car. He prepares himself both mentally and physically, priding himself on racing within the rules. Hunt relies solely on his skill. His life off the track is consumed with hard and fun living. But on the track, if the car is up to it, he has the talent to take it to victory.

               “Rush’s” focus is on the 1976 Formula One racing season. The film has a lot of jargon concerning Formula One racing but that shouldn’t put non-aficionados off. Mr. Howard and his editors, Daniel P. Hanley and Mike Hill, do a nice job of keeping our minds off the technical aspects and our eyes on the racing excitement. The shots of the two drivers racing are exciting. Mr. Howard has found a way to film race scenes that can keep an audience interested. But the key to the excitement is knowing the two drivers.

              

The casting of both Mr. Hemsworth and Mr. Bruhl is spot on. Mr. Hemsworth is known more for the Marvel comic book hero Thor but he is also a lot of fun as a delinquent mortal. He is amusing, publicizing his chiseled physique while over inundating himself with the goodies at his disposal from winning Formula One races. Mr. Bruhl has the tougher job. He comes across as the stern Austrian without a sense of humor. Lauda is focused on winning and only winning and Mr. Bruhl conveys that. But Mr. Bruhl also gives hints of loneliness and sensitivity. That appeal makes his romance with his future wife, Marlene (Alexandra Maria Lara) so interesting. That shy playfulness is missing from Hunt’s courtship of his wife, Suzy Miller (Olivia Wilde). Their relationship consists of attraction with carnal lust that leads to nuptials. But the romancing is just another way to show their differences. What makes the movie interesting is the relationship between the two men. They butt heads but the rapport between the two actors make the conflicts wonderful to watch.

               “Rush” is Mr. Howard’s best directorial effort. He has discarded anything concerning the men’s relationships that might make the movie drag. He has succeeded in the difficult task of showing the admiration these two men had for each other without making it a sentimental soap opera. Technically, Mr. Howard and his cinematographer, Anthony Dod Mantle (“127 Hours,” “Slumdog Millionaire”), give the film an off-color look that intensifies the desperation each driver develops to beat the other. We get a sense of the exhaust noise, the gravel on the track and the elements that might make or break a race. And Mr. Howard does what all directors should do when actors are at the height of their game and that is to show them together, working off of each other, getting to tell the audience who their characters are while moving the story forward.

 

Directed by Ron Howard; written by Peter Morgan; director of photography, Anthony Dod Mantle; edited by Dan Hanley and Mike Hill; music by Hans Zimmer; production design by Mark Digby; costumes by Julian Day; produced by Mr. Howard, Mr. Morgan, Andrew Eaton, Eric Fellner, Brian Oliver and Brian Grazer; released by Universal Pictures. Running time: 2 hours 3 minutes.

WITH: Chris Hemsworth (James Hunt), Daniel Brühl (Niki Lauda), Olivia Wilde (Suzy Miller), Alexandra Maria Lara (Marlene Lauda), Pierfrancesco Favino (Clay Regazzoni) and Natalie Dormer (Nurse Gemma).

Felicity Jones' talent not invisible in "The Invisible Woman."

Movie Review: “The Invisible Woman”

Director Ralph Fiennes’ “The Invisible Woman” is much more than the story of Charles Dickens’ affair with his mistress, Nelly Ternan (Felicity Jones). It is an examination of the mores and pecking order of English society in the nineteenth century. It was a time when men ruled and women had little say in the social fabric. Traditions kept people in check. It was a time that cultivated loveless marriages and snuffed out passionate affairs. Under these conditions “The Invisible Woman” makes for an entertaining and compelling film.

               Charles Dickens (Mr. Fiennes), the great English author, is touring the country, directing his friend Wilkie Collins’ (Tom Hollander) play. At a rehearsal, in Manchester, he meets the Ternan sisters- aspiring actresses managed by their mother, Frances Ternan (Kristen Scott Thomas). Dickens falls for the younger sister, Nelly, and they begin a clandestine affair. The affair is a dangerous game, especially for Nelly. Women’s careers – the little opportunity they were allowed – and the chance of starting their own families relied on sound reputations. If a woman carried even a hint of scandal she was ostracized from society. It is a dangerous affair conducted under the noses of Victorian conventions.

               Ms. Jones is at the heart of “The Invisible Woman.” She has the difficult task of portraying Nelly at three different stages of her character’s life. Nelly is an intelligent girl and Ms. Jones conveys that. The young Nelly’s intelligence hasn’t had the experience that would allow her to read the danger signals of her era. Nelly has a teenage girl’s fascination toward the legendary writer but is also aware that he has a wife and family. At first she struggles and fights her attraction for the good of Dickens’ family. But Ms. Jones takes a scene with Dickens, who she tries to break away from, and shows us the point where Nelly takes a step into womanhood.  Dickens convinces her to carry on with the affair and she agrees, at the stage of her life when she is fully aware of the consequences. It is at that stage Ms. Jones transforms Nelly from an innocent girl into a woman who knows her love may cost her dearly if she’s discovered. And the third stage is the woman with the past and experience; who has the knowledge of life and loss. Ms. Jones has crafted one of the most complex and genuine characters in the movies.

              

Mr. Fiennes is what he is in anything he does: wonderful. He has an advantage playing Dickens. Setting a movie in Victorian England gives the screenwriter, Abi Morgan (“The Iron Lady,” “Shame”), a nice opportunity to give her characters poetic verses to recite that don’t bring into question their validity. Combining both Mr. Fiennes’ skill and the poetry of the words and it is an entertaining portrait of the author. As a director Mr. Fiennes has done a nice job of telling the story of this affair with all of the emotion it requires without throwing it in the face of the audience. A particular scene that tells of the choppy waters they are swimming in is when Nelly wants to break off the affair because of what it will do to Dickens’ wife. He stops her as she ascends the stoop of her house. They are both emotional, Dickens more so, when they are interrupted by a patrolling constable. Without hesitation the constable asks Dickens (he doesn’t recognize the great writer since he doesn’t address him by name) if the woman is disturbing him. The scene sets the tone for the dangers that Nelly faces. Mr. Fiennes does that throughout the movie – setting a mood that allows the viewer to understand all the consequences for every character’s actions.

               “The Invisible Woman,” based on the book by Claire Tomalin, is a love story. Any good love story is full of perilous traps for its lovers. This is what makes for a wonderful movie. Any romance has its obstacles but “The Invisible Woman” shows how difficult it is for true love to burn brightly and the risks involved in capturing the flame during its time. But no matter how difficult the affair for the lovers, it is a wonderful story to behold.

Directed by Ralph Fiennes; written by Abi Morgan, based on the book by Claire Tomalin; director of photography, Rob Hardy; edited by Nicolas Gaster; production design by Maria Djurkovic; costumes by Michael O’Connor; produced by Gabrielle Tana; released by Sony Pictures Classics. Running time: 1 hour 51 minutes.

WITH: Ralph Fiennes (Charles Dickens), Felicity Jones (Nelly Ternan), Kristin Scott Thomas (Mrs. Ternan), Tom Hollander (Wilkie Collins), Joanna Scanlan (Catherine Dickens), Perdita Weeks (Maria Ternan), Amanda Hale (Fanny Ternan), Tom Burke (George Wharton Robinson), John Kavanagh (William Benham) and Michael Marcus (Charley Dickens).

Bruce Dern leads us to the promised land in "Nebraska."

Movie Review: “Nebraska”

              

Director Alexander Payne has followed up his award winning film, “The Descendants,” with a road movie titled “Nebraska.” As in all his films, Mr. Payne shows us what happens to ordinary people when they decide to break out of their mundane lives in search of purpose. “Nebraska” follows the exploits of Woody Grant (Bruce Dern) who, after receiving a sweepstakes letter in the mail claiming he’s won a million dollars, decides to collect. His journey disrupts the whole Grant clan and in doing so allows Mr. Payne to shine a light on a part of the country – and the people who inhabit it – that very few movies do.

               Woody, when we first see him, is walking along a Billings, Montana highway in the middle of winter. He looks like he’s off his rocker. A highway patrolman picks him up and returns him home. The cause for his antics is the sweepstakes letter which he ignores or just doesn’t believe the fact it’s possible that the claim could be misleading. Or it could be, like the beginning of this movie, his life was sparse and decides to interject it with something out of the ordinary. His family thinks he’s nuts. But Woody’s relentlessness wears on his younger son, David (Will Forte), who decides to fulfill his father’s whim and drive him across three states to Lincoln, Nebraska, to show him that the whole thing is a scam. Before they arrive, however, they stop along the way, including at Woody’s boyhood town of Hawthorne, Nebraska.

               The road trip is where the story begins to show some spark. David tries to connect with his father but Woody, being from that generation that doesn’t open up, makes it a rough chore. When we see Woody with his family of siblings we begin to suspect that he isn’t crazy at all; moping and silence seem to be an inherited trait. David is joined by his mother, Kate (June Squibb) and older brother, Ross (Bob Odenkirk) to dissuade Woody from his adventure. It’s when Kate hits town that the movie heats up. Not one for introspective pauses or polite conversation, she causes a bit of a scandal by calling it the way she sees things. She has no qualms about revealing negative qualities about anybody, family, saint or otherwise. Kate may be the motivation for Woody’s trek across the Midwest, during the winter, in pursuit of fool’s gold. The family bicker over Woody’s actions until they have to defend themselves from old friends and extended family who ask for some portion of the money to pay back favors that may or may not exist.

              

“Nebraska” is a rare movie where its main character doesn’t grow or become wiser by the final credits. Mr. Dern is on key as a determined man seeking a prize, or some validation, no matter what obstacles lay in front of him. The first thought is that he may be senile but as the movie reflects on his life it just might be the one time he does something for himself. It’s an interesting performance. The note is the same from the first images of Woody to the end. What changes is our perception of him.

               Mr. Forte’s acting improves throughout the movie. While they’re still in Billings, Mr. Forte seems to be acting in a student film. He is a little too showy with his emotions and doesn’t seem to really feel them. It becomes a distraction. By the end, whether I got used to it or he started getting more comfortable with his performance, it turned natural. Or maybe Ms. Squibb is such a firecracker during her screen time that everybody else’s performance doesn’t get a chance to get off the ground.

               The real treat in “Nebraska,” however, is watching the performance of Stacy Keach as Ed Pegram. Ed is the bully from the old neighborhood who hasn’t changed much over the years. He isn’t life threatening but he is an ugly disruption of daily life. Mr. Keach is so smooth as this weasel that you can see how he holds the locals’ loyalty at the local watering hole while knowing he would betray anyone of them at the drop of a hat. The most exciting scenes are when Mr. Dern and Mr. Keach, two old veterans, work their skills off each other. The writing of the scenes also work with these characters since one of them is trying to connive the other out of something that doesn’t exist.

               Mr. Payne gives “Nebraska” an old world feel by shooting it in black and white. The choice is appropriate since we are visiting with characters whose time has come and gone. By the look of the towns Woody and David pass through it isn’t hard to imagine that they looked and felt the same way decades ago. It’s also a mentality of small town U.S.A that dominates the people of these towns that might have pushed Woody toward his adventure. But Woody gets his prize in the end and so do we in this wonderful look at another part of the country rarely seen.

Directed by Alexander Payne; written by Bob Nelson; director of photography, Phedon Papamichael; edited by Kevin Tent; production design by Dennis Washington; produced by Albert Berger and Ron Yerxa; released by Paramount Vantage. Running time: 1 hour 55 minutes.

WITH: Bruce Dern (Woody Grant), Will Forte (David Grant), June Squibb (Kate Grant), Bob Odenkirk (Ross Grant) and Stacy Keach (Ed Pegram).

"Frances Ha" is a diamond in the rough.

DVD and Streaming Review: “Frances Ha”

 

              

 

Writer and director Noah Baumbach’s “Frances Ha” is the story of a girl – who might be classified as “liberal elitist” – navigating life after college. It is a continuation of Mr. Baumbach’s themes of observing educated and culturally oriented people struggling to find identification. Greta Gerwig plays the title role and has a co-writer’s credit. There may be a bit of biographical storytelling going on here and that’s to the film’s credit. The places and scenes that emerge are so lifelike and fraught with novice corollaries that they cannot be far removed from the film writers’ own experiences. However so, it makes for an entertaining movie and Ms. Gerwig is so simple and innocent that we watch hoping she grows up in front of our eyes.

 

               “Frances Ha” was filmed in black and white, a throwback of sorts to when the independent film movement was at its hottest, during the early and mid-nineties – independent films made with shoe-string budgets and maxed out credit cards. The story captures that spirit and the black and white adds to the grittiness. A coming of age story would be a poor description since that would mean lessons have been absorbed. That’s a big studio ending. The independent spirit is about the poor souls who get beaten down by life and cannot find any life preservers.

               Frances rooms with her best friend Sophie (Mickey Sumner). To say they are inseparable would not do their friendship justice. They not only fall asleep in the same bed together but know all of the intricacies of the other. They each give each other such pleasure that there is no reason to take notice of life passing by or the inevitability of maturing. Frances’ relationship with her boyfriend crumbles when she refuses to move in with him. She is worried that she might upset Sophie who she believes wants to renew the lease on their apartment. Not too long after, Sophie informs Frances that she, herself, is moving in with her boyfriend, setting the drama of the film in motion.

 

               Frances is thunderstruck and has to scramble to find new housing. She moves in with Lev (Adam Driver) and Benji (Michael Zegen) who she meets at a party. While Sophie navigates the waters of young adulthood, Frances refuses to prepare for a future. Instead she tries to maintain best friend status with Sophie but grows frustrated with Sophie’s other obligations. She focuses on her dancing which brings to mind every parents’ advice about studying law or medicine as a back-up plan for the children majoring in the arts. It’s bad enough that she might not be good enough for her dance company but she’s trying to live her dream through a spiraling economy.

               Ms. Gerwig makes Frances endearing. She goes through all her growing pains without submitting to defeat. She’s able to roll with each disappointment. Ms. Gerwig sort of floats through the movie. She gives off a good sense that Frances is just bouncing around and that her friendship with Sophie was the foundation of her life. The cast Mr. Baumbach surrounded her with is raw in an independent film sort of way. The actors add to the grittiness of the film. They are wonderful especially Ms. Sumner and Mr. Driver who have the presence of those living on the previous night’s tip money while trying to be a part of a scene. The rest of the cast follows suit.

               “Frances Ha” is a simple story about a simple girl who has to learn about herself. The performances are rustic and add to the look and feel Mr. Baumbach established with his black-and-white photography. It is an original piece of film about an original girl.

 

 

Directed by Noah Baumbach; written by Mr. Baumbach and Greta Gerwig; director of photography, Sam Levy; edited by Jennifer Lame; production design by Sam Lisenco; produced by Mr. Baumbach, Scott Rudin, Lila Yacoub and Rodrigo Teixeira; released by IFC Films. Running time: 1 hour 26 minutes.

WITH: Greta Gerwig (Frances), Mickey Sumner (Sophie), Patrick Heusinger (Patch), Adam Driver (Lev), Michael Zegen (Benji) and Grace Gummer (Rachel).

"The Counselor" brings the intensity to the Mexican mafia movie.

DVD or Streaming Review: “The Counselor”

 

              

 

“The Counselor” is Cormac McCarthy’s first original screenplay. If one is familiar with Mr. McCarthy’s fiction they will see a familiar theme of mortality surrounding man’s relationship with evil and violence as an accessory. His novel “No Country for Old Men” dealt with choices individuals make and the evil that walks this planet. His novel was underlined with philosophical themes that did not surface in the Coen brothers’ film of the same name. Mr. McCarthy’s novel “Blood Meridian” dealt with man’s relationship with violence and is considered so violent that it is unfilmable. “The Counselor” may not be as violent as “Blood Meridian” but the threat remains under the surface, creating a tension that lasts throughout the movie.

               The character whose name graces the title is played by Michael Fassbender. He is the so called counselor to a night club owner, Reiner, played with relish (is there any other way he plays a part) by Javier Bardem. Needing the extra cash they invest in a drug deal with a middle man Westray (Brad Pitt) on which they expect a large return. One of the ironies of the film is that there is not one time in which The Counselor gives any counsel. He gets plenty and it’s all good, especially when he is advised to stay away from the deal. But his lavish lifestyle has put him beyond his means and the purchase of a three-and-a-half carat engagement diamond for his girlfriend (Penelope Cruz) has pushed him forward.

              

               The story of the mob in film during the twentieth century has revolved around the Italian mob specifically. So far, in the early part of this century, it would be safe to say that the Mexican cartels have usurped the Italians. “The Counselor” looks and feels as though Mr. Scott and Mr. McCarthy have set out to make the first classic Mexican Cartel mafia movie for this century. Mr. McCarthy has underlined the threat of violence with a philosophy that doesn’t exactly rise to the level of “The Godfather’s” “I’m going to make him and offer he can’t refuse,” or “It was only business.” In “The Counselor” we are told to find imperfections in everything, including so called perfectly cut diamonds, and that grief does not have value even though it does change the griever’s view of the world. These philosophical excursions add a depth to “The Counselor” and their scenes hold interest since the messengers are the wily veterans Bruno Ganz and Ruben Blades. The problem with “The Counselor,” however, is that there are too many pieces missing and some pieces that should have been left out.

 

The movie has three different stories going simultaneously. The first is The Counselor’s story and why he puts his money into the investment. The second is the oil truck whose voyage from Mexico to the United States carries the destinies of all the major players in it. And the third is about Reiner’s girlfriend, Malkina (Cameron Diaz), who, after being called cold for telling Reiner that she doesn’t miss someone when their dead because they’re not coming back, tells him truth doesn’t come in a temperature. Truth may not come in a temperature but her heart has no need to fear global warming.

               The strength of the movie lies in the traveling gas truck. It looks as though it couldn’t make it around the corner never mind across the border but that’s the point since it’s a camouflage for its contents. It’s an ominous presence in a film and leaves a lot of dead bodies in its wake. Who is driving it also plays to what happens to the counselor and the people he’s involved with. The truck moves the story.

               Malkina is the other asset to the film. She is cold and cunning and the smartest person in the room. That’s what makes her scary. Mr. McCarthy seems to have written her to show the evolution of women in mob movies. Malkina is no mob wife or mistress. She is the brains and the men around her are not as smart as she and they know it. She still has the sex appeal which at one time was the only quality women needed to have. One problem that diverts from the story is that Mr. McCarthy tries too hard to show that women can love sex while also being smart, powerful and ambitious as hell.

               Malkina’s character grows more menacing as the film plays but Mr. Fassbender’s Counselor is a washout. When the news comes to him that the manure has hit the fan he is like a deer in the headlights, withoutany resources to escape or plans to disrupt his imminent demise. Every report of bad news brings a meltdown. Watching him sink toward his obvious fate drains the drama out of “The Counselor.” But that could be the point. The Mexican cartel is so vast and organized –  structurally and technically –  that once things go bad there is nothing really to do but cry. Giving the counselor no options makes the Mexican cartels even more dreadful.

               Mr. Scott would have served “The Counselor” better with more precise editing. There are scenes in the movie that should not be there. Not only do they disrupt the building dread but they serve no purpose. And just as distracting are characters who seemed smart in the first half of the movie only to walk into traps that are obvious a mile away.

               Mr. Scott gives “The Counselor” a great look and Mr. McCarthy floats some wisdom throughout the doomsday tale. They did not hit their mark of making a classic but they did open a window into an organization that will be one of the major menaces of the twenty-first century.

Directed by Ridley Scott; written by Cormac McCarthy; director of photography, Dariusz Wolski; edited by Pietro Scalia; music by Daniel Pemberton; production design by Arthur Max; costumes by Janty Yates; produced by Mr. Scott, Nick Wechsler, Steve Schwartz and Paula Mae Schwartz; released by 20th Century Fox. Running time: 1 hour 51 minutes.

WITH: Michael Fassbender (the Counselor), Penélope Cruz (Laura), Cameron Diaz (Malkina), Javier Bardem (Reiner) and Brad Pitt (Westray).

Try to Find "All is Lost"

Movie Review: “All is Lost”

 

              

“All is Lost’s” director and writer

J. C. Chandor (“Margin Call”) has brought us his nautical survival story amongst a summer of survival movies. The movie follows in the footsteps of “Gravity” and “Captain Phillips” but what makes “All is Lost” stand out is that it is one man (Robert Redford) fending for himself. He doesn’t have anyone to assist him nor does he have the means to communicate his condition. It is the same premise as “Titanic” but on a much smaller scale. Mr. Chandor’s direction allows us to be at the side of The Man throughout his ordeal which creates claustrophobia and builds tension.

               The screenplay, written by Mr. Chandor, consists of one word of dialogue. The whole movie is a throwback to the silent era, when a filmmaker had to tell a story through images. Mr. Chandor shows us enough clues to get a sense of who this man is. But Mr. Chandor doesn’t leave us any time to ponder questions. Within the first minute we’re aware of water leaking into the yacht. It’s man versus nature and we know who has the upper hand in that battle.

               “All is Lost” is a mystery as well as a survival movie. There is no indication of why the man is in the middle of the Indian Ocean alone. We have to develop our own assumptions which come from The Man himself. The strength of the film rests on the performance of The Man, which is to say, Mr. Redford. Mr. Redford is great casting. He has the gravitas that allows us to put our faith in him. The scars of experience are etched in his face. But he is also a master of his craft. Unaided by the script – he doesn’t even talk to himself – he has to show the audience who this character is. It is evident that for a sailor he is a wily veteran. He never panics. He handles every new crisis that pops up assuredly. At one point, when his predicament looks bleak, he sits down, pops open a bottle of Johnnie Walker Blue and throws back the shots with water up to his knees and a storm raging outside. We know we’re with a survivor. 

 

               Mr. Redford’s wonderful performance is in part due to the directing and writing of Mr. Chandor. Mr. Chandor creates a film that starts as a slow bubble and grows into a boiler. The yacht itself couldn’t feel or look more secure. It is beautiful on the outside and The Man has it furnished better than most inland houses. But as the crisis grows those privileged possessions must be rid of for survival’s sake. In between storms and accelerated flooding there are times when The Man is able to catch his breath and he does so with an almost resolute acceptance of his situation. Each new catastrophe that is piled on builds a sense of dread but watching how calm The Man handles it creates a sense that he will get out of this mess alive. These are two opposing feelings. But they make the story riveting. That’s good filmmaking.

Written and directed by J. C. Chandor; director of photography, Frank G. DeMarco; underwater director of photography, Peter Zuccarini; edited by Pete Beaudreau; music by Alex Ebert; production design by John P. Goldsmith; visual effects supervisor, Robert Munroe; produced by Neal Dodson, Anna Gerb, Justin Nappi and Teddy Schwarzman; released by Lionsgate and Roadside Attractions. Running time: 1 hour 47 minutes.

WITH: Robert Redford (Our Man).

Hustle over to "American Hustle"

Movie Review: “American Hustle”

 

              

 

Getting scammed and conned never felt so good. “American Hustle” is director David O. Russell’s take on the FBI’s ABSCAM operation during the late seventies. Led by the FBI, they used con-artists to set up politicians they thought were on the take. Not all the good guys were good nor were the bad guys all bad. But as written by Mr. Russell and Eric Warren Singer it is an enjoyable movie that will keep the surprises coming.

               Irving Rosenfeld (Christine Bale) is a smalltime conman from Long Island dabbling in a few small scams. He meets Sydney Possner (Amy Adams). They fall in love. Sydney has worked hard all her life at becoming a success but when she finds out that most of Irving’s businesses are scams, she’s not only forgiving but joins the racket. They are so good as a team that they draw the attention of the FBI. They are busted by agent Richie DiMaso (Bradley Cooper) but are given a chance at redemption if they agree to help the FBI set up some big fish in politics.

               Mr. Russell and Mr. Singer have written a complex but wonderful screenplay. The movie begins with Irving’s story. Then it snowballs and begins to weave many webs, attaching itself to a lot of players. The characters are conventional in the beginning. We know who the scam artists are and who the authorities are. Irving is not a nice guy. Con guys usually aren’t but by the end of the film it seems he is the only one using reason and a conscience – in other words, likable. FBI agent DiMaso seems like the hero but when he makes too many busts his ego takes over and formulates assignments without thinking about the big picture. Sydney is in love with Irving but there seem to be some grey areas as to which one of them will get the immunity from the FBI and Sydney, who has always looked out for herself, has to do so again. Then of course there’s the wild card, Irving’s wife, Roselyn (Jennifer Lawrence) a Long Island housewife with too much time on her hands. Her jealousy over Irving running around with a lot of big shots motivates her to be a part of whatever it is she thinks is going on.

               The screenplay’s multiple layers are brought deliciously to life by a group of seasoned pros. They fit together seamlessly. Mr. Bale has played so many character types that its hard to remember what he actually looks like and that at one time he was even Batman. Irving is Jewish with a weight issue as well as imitation hair. Thinking of Mr. Bale in the role would require the imagination to be in overdrive. But he is so good he absorbs the character. Irving may not have been that good in real life but his reputation should be grateful that Mr. Bale has been cast. He gives Irving a bit of humanity and a lot of good sense. When the setups become too elaborate and the Feds aim their sights on some big politicians, it is Irving who tries to slow the proceedings down and offer some sense into their schemes.

 

               His chemistry with Ms. Adams is fun to watch. This helps because when they find themselves deeper in the Feds’ debt, no one is quite sure whether Sydney is going to betray Irving or not. Ms. Adams has played characters with a lot of spunk, most notably in “The Fighter,” but in “American Hustle” she adds a bit of suave as well as intelligence. She becomes a match for both Irving and the Feds. She hooks Agent DiMaso but, again, her motives are foggy.

               Mr. Cooper is electric as hot-headed Agent DiMaso. He seems like a typical federal agent when he busts Irving and Sydney but when he discovers he can use them to catch some major players he becomes obsessed. Jeremy Renner plays the mayor of Camden, New Jersey and the Feds’ target. He is pitch perfect as that old school politician who does some dealing outside the law but does so for the benefit of his city and state.

               Mr. Russell has made a string of great movies that have wonderful stories to tell (“The Fighter,” “Silver Linings Playbook”) and “American Hustle” can be added to the list. There is one hang-up that diminishes a David O. Russell film and that is the inconsistency with direction. He does a great job of casting his films and gets the most from his actors but he lacks the ability to show what it is they are creating in front of him. There are major moments in “American Hustle” that lose their intensity, such as when Irving is unsure of whether Sydney will betray him. We watch their head shots as they confront each other. We should be watching these actors together. They are at their peak and their body language plays a major role in setting the mood of a scene. A case in point is the seduction scene between Agent DiMaso and Sydney. Mr. Russell shoots the scene with both actors in the frame. The scene is intense because both actors are working off of each other – figuratively and literally – and we get to witness it instead of having their heads telling us about it.

               “American Hustle” is a wonderful story with great performances that’s able to brush over technical flaws. Mr. Russell’s talents are in telling great stories and he has done it again in “American Hustle.”

Directed by David O. Russell; written by Eric Warren Singer and Mr. Russell; director of photography, Linus Sandgren; edited by Jay Cassidy, Crispin Struthers and Alan Baumgarten; music by Danny Elfman; production design by Judy Becker; costumes by Michael Wilkinson; produced by Charles Roven, Richard Suckle, Megan Ellison and Jonathan Gordon; released by Columbia Pictures. Running time: 2 hours 9 minutes.

WITH: Christian Bale (Irving Rosenfeld), Bradley Cooper (Richie DiMaso), Jeremy Renner (Mayor Carmine Polito), Amy Adams (Sydney Prosser), Jennifer Lawrence (Rosalyn Rosenfeld), Louis C. K. (Stoddard Thorsen), Jack Huston (Pete Musane), Michael Peña (Paco Hernandez/Sheik Abdullah), Shea Whigham (Carl Elway), Alessandro Nivola (Anthony Amado), Elisabeth Rohm (Dolly Polito) and Paul Herman (Alfonse Simone).