Hustlers

Hustlers: Striptease on Wall Street premieres on our big screens, with Jennifer Lopez in the role of stripper Ramona, who will cheat her rich Wall Street customers with her talent at the bar. Erotic show sequences fail to be balanced between explicit and discrete, or to be artistically cast. So this sexy heist movie just fails to attract.

Director Lorene Scafaria’s room objects to the heroines, sabotaging the feminist message the film intended. Instead of being a female gas movie, filming the moments at the bar shows a masculine, voyeuristic point of view. In addition, anticlimatic. But it remains the moralizing story, formulated by the character Ramona: America itself is a strip club, in which some pay and others dance, and the juicy real fact that was the basis of the film, for any future new screenings.

Hustlers: Striptease on Wall Street deserves to be seen for Jennifer Lopez who, in her 50s, is totally uninhibited, the scene being – in fact – her life; she is beautiful, she is sexy, she shows off her legendary voluptuous shapes and she is congratulated for accepting a film camera that is extremely intrusive.

Relatively newcomer Lorene Scafaria also signs the script, starting with journalist Jessica Pressler’s article, published in New York Magazine, which went viral in 2016. Scafaria proves comfort in developing the script, sketching the characters (the most developed is Dorothy, with the stage name Destiny, the character of Asian Constance Wu). As a result, the characters are unfortunately not at all attached. Moreover, Scafaria chose to present the events in chronological order, without letting the red thread of the story be the journalistic investigation that was the basis of the article after which the film was made or giving complexity to the story with flash-backs, which would fill the backstory. of these characters. In addition, men are just reprehensible characters in this movie.
Constance Wu plays the newcomer to Manhattan’s most popular men’s club. Veteran Ramona (Lopez), the most experienced and desirable stripper in the club, takes her under the wing on Asian exotica, with intentions probably not the most honest. He thinks that together they could make more money. Following the financial crisis of 2008, the two women are thinking of a plan to scam the club’s customers, generally Wall Street executives, for the money to continue to enter the club and obviously into their pockets. By drugging their clients, but not so much as being unable to sign a check, they empty their credit cards, all with the acceptance and participation of the club’s bosses, betting that later men will not complain so as not to compromise that they have were cheated in a strip club. They have a reconciled conscience, and even consider themselves avenged, as they say – these men are speculating on the stock market, stealing America.

The business gained proportions when new dancers were recruited and joined the duo. The expanded team of charlatans, however, is made up of heroics of ancient tragedy in early 21st-century Manhattan, victims trapped in a borderline situation, which calls for desperate measures to survive, but also undiscovered talents in theft and deception.

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