Ramona’s introduction also sets in motion everything else the film wants to explore, from its interest in the mechanics of selling sex — a later scene will break down just how Ramona seems to ignore gravity — to its razor-sharp dissection of the days leading up to the 2008 financial crisis and the way America hollowed out afterward. The crimes these women commit feel scummy and desperate because their country has grown scummy and desperate. To Hustlers’ credit, it almost never says, “See? The real criminals are the guys on Wall Street.” Nobody gets out of this movie clean.
Examining the prosaic, workaday nature of crime has long been the provenance of the mob drama, perhaps never so memorably as in Martin Scorsese’s 1990 classic Goodfellas. Hustlers asks what a movie like Goodfellas looks like with women at the center of the story (up to and including a very funny cooking montage where Destiny and Ramona try to perfect the drug that will let them knock out fatcats so they can rip those fatcats off). But it also never loses sight of how the schemes these women undertake are just that. They may be desperate, but that doesn’t make anything they do admirable.
When thinking back over Hustlers, it might be easy to conclude that it sets up a bunch of dominos it never lets fall, as in an early montage showing the three different types of Wall Street guys Destiny and Ramona interact with throughout the movie. It definitely contains sequences that made the final cut only because they’re fun, not because they’re necessary to the plot (not that this is a bad thing). But don’t ignore the way Scafaria and her team position the whole world as a series of transactions, ones you can exploit if you know what to sell. Ramona and Destiny may not have found cheat codes for gravity, but they did discover a way to hack this particular game’s economic model. For a while, at least.
I realize that all sounds headier than Hustlers’ marketing would have you believe, but I assure you this is a tremendously entertaining movie. It’s being sold just a bit as a girl power anthem. But a more accurate way to describe it would be as that sad song from the end of the show, the one where the singer tells you a story about the best friend she used to know and doesn’t talk to anymore, and when the lights come up and you’re filing out of the theater, you think, “Girl, call her.”
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