The Apartment (1960)

Jack Lemmon and Shirley MacLaine in an unusual relationship in the brilliant The Apartment

Director: Billy Wilder

Cast: Jack Lemmon (CC “Bud” Baxter), Shirley MacLaine (Fran Kubelik), Fred MacMurray (JD Sheldrake), Ray Walston (Joe Dobisch), Jack Kruschen (Dr Dreyfuss), David Lewis (Al Kirkeby), Edie Adams (Miss Olsen), Hope Holliday (Mrs Margie MacDougall), Joan Shawlee (Sylvia), Naomi Stevens (Mrs Mildred Dreyfuss)

How do you get ahead in business (without really trying)? Well a good way of going about it might be just farming your New York apartment out so your bosses can take ladies who aren’t their wives there. It works for CC Baxter (Jack Lemmon) – known to all his superiors as “Buddy” – who makes his apartment freely available on rotation to a host of executives as bolt holes for their mistresses. Just arrange a start and finish time, pick up the key from under the mat, and Baxter will keep out of the way. However, things get complex for Baxter when the Head of Personnel, Sheldrake (Fred MacMurray), demands exclusive use of the apartment – and when it turns out his mistress is none other than Fran Kubelik (Shirley MacLaine), the lift attendant Baxter himself has fallen in love with.

The Apartment is a brilliant mix of bitter social satire and comedy. It’s striking that the film is remembered as a sort of dark romantic comedy, as I think I’d be hard pressed to think of a film with as bitter a view of America and its values. Baxter and Kubelik make for a sweet couple (eventually) but the pair of them are in awe of the American dream. This working dream is however a complete fake, one in which the rich and powerful take what they want and those at the bottom bend over backwards to assist them, praying that the next big job or the next big marriage is round the corner. 

Wilder’s film skewers the ambition and manipulation behind the American dream. Baxter, a down-trodden schmo, works in an office where hundreds of workers sit in lines entering data like worker ants. (The sequence was Wilder’ visual tribute to King Vidor’s 1928 The Crowd). Acclaimed French art director Alexander Trauner (thegenius behind Les Enfants du Paradise) created the effect with intelligent use of false perspective (those at the back are little people made to look far away), and Baxter’s office is a triumph of capitalist indifference made flesh. The big wigs (the only ones with individual offices) are interested only in getting what they want and value nothing more than the keys to the executive bathroom.

It’s Mad Men before its time. A drunken Christmas party is a picture of debauchery, a hotbed of drinking and sex. Kubelik can hardly operate her lift without getting her bottom pinched by an executive. At the apex is Sheldrake the personnel manager, brilliantly played by Fred MacMurray as a heel who thinks he’s reasonable. Sheldrake is the personification of selfish indifference, interested only in getting what he wants all the time. He strings along both Kubelik and Baxter with empty promises (of marriage and promotion), constantly with the fixed smile of the uncaring professional, glancing at his watch during illicit dates with Kubelik and interested in Baxter only as long as he can gain access to his apartment.

As the owner of that apartment, Jack Lemmon is superb as the nebbish Baxter. No one could look or sound more like a struggling nobody like Lemmon, the film brilliantly playing on his relatable every-dayism. With his head jutting forward, his voice and manner always too eager to impress, to ingratiate, he’s the American dreamer ground down by the reality of having to get ahead. It works so brilliantly due to Lemmon’s charm, even though many of the things Baxter does in the film are slightly unpleasant. He’s ambitious, but only because he feels like it’s the only chance he has. But deep down Baxter is kind, he’s playing the role that he thinks he needs to play to make a success of life – so you never stop kind of loving him, even as he enables cheating spouses and good-time girls (at least one of whom is a not-even veiled spoof of Wilder’s bette noir, Marilyn Monroe).

But Baxter is one of us, he’s a down-trodden, a bit clueless and so his good intentions are constantly misdirected. So we care about him, just as we care about Kubelik, wonderfully played by Shirley MacLaine. She’s sweet and endearing, full of quirky charm and endearing sparkiness. But it covers the pain of all misused mistresses, constantly being strung along by their lovers with the promise that yes, eventually, they will leave their wives. The film heads into dark territory with the impact this has on Kubelik but even after all this, she still gives Sheldrake yet another chance. Because, in Wilder’s world, it’s hard to turn your back on how the world works.

It’s the same rules of the world that leave Baxter sitting outside his apartment in the rain, waiting for his boss to “finish”, or spend the night walking the streets or being stood up at the theatre because his prospective date is his boss’ mistress. But despite all this, the film is funny, partly because the set-up is in itself funny and Wilder laces the cynicism with plenty of humour (acidic or otherwise). There are hilarious misunderstandings – all of Baxter’s neighbours think he is the ultimate party animal – and relatable comedy of the lonely, with Baxter’s TV dinners and imaginative use of tennis rackets to strain spaghetti.

The film also throws together a neat romantic plot between Baxter and Kubelik that’s underplayed, endearing and feels truthful. Many people have criticised the ending as feeling tacked on and betraying the coldness of the film’s social satire. But I think it’s there throughout – this is a film that has a fury for the cruelty of capitalism and people like Sheldrake, but no end of affection for the real people who are trapped at the bottom of it. Baxter and Kubelik are never the film’s targets and always the film’s heart. Their eventual happy ending – with the film’s famous closing line of “shut up and deal” – might seem like it flies in the face of the acid of the film, but that’s to overlook the heart that underpins all their interactions.

The Apartment is a near perfect mix of both comedy and drama, dealing with deep and dark themes with an assured and gentle touch, with a wonderful script by Wilder and IAL Diamond. With its two lead roles filled with a brilliant aplomb by Lemmon and MacLaine, plus superb support from MacMurray and Oscar-nominated Jack Kruschen as Baxter’s next-door neighbour, it’s still a superb treat.

Rio Grande (1950)

John Wayne is the Colonel regretting past mistakes in Rio Grande

Director: John Ford

Cast: John Wayne (Lt Colonel Kirby Yorke), Maureen O’Hara (Kathleen Yorke), Victor McLaglen (Sergeant Major Quincannon), Ben Johnson (Trooper Travis Tyree), Claude Jarmon Jnr (Trooper Jefferson Yorke), Harry Carey Jnr (Trooper “Sandy” Boone), Chill Wills (Dr Wilkins), J. Carrol Naish (General Philip Sheridan)

John Ford’s next project was meant to be The Quiet Man, his Ireland-set passion project. However the studio, Republic Pictures, were not convinced the expensive picture could ever be a hit (it later became one of their biggest hits and only Best Picture nominee). So they told Ford he could make it on condition that he, and his proposed stars Wayne and O’Hara, first made a good old-fashioned Western. Because they sure as hell knew they could sell that. So Ford turned out the third and final picture in his “Cavalry” trilogy, three interconnected films (the others being Fort Apache and She Wore a Yellow Ribbon) with loosely connected themes and overlapping character names.

Lt Colonel Kirby Yorke (John Wayne) is posted on the Texan frontier, defending the settlers against Apache attacks. When Yorke’s son Jefferson (Claude Jarmon Jnr) – who Yorke wasn’t seen in almost eighteen years – washes out of West Point, he volunteers to join Yorke’s regiment as an ordinary Trooper.  This leads to the arrival of his mother – and Yorke’s estranged wife – Kathleen (Maureen O’Hara arriving at the Fort, eager to get her son out of an enlisted life she feels isn’t right for him. But Yorke is determined there will be no special treatment for his son, never mind how dangerous are starting to get with the Apaches. 

Rio Grande is a professionally assembled, classic Ford western that hits all the marks you could expect in terms of action, excitement and that romantic version of the West that you might expect from Ford. But it’s perhaps so professionally assembled it still feels like one for the money at times – it’s a collection of all you might expect from a Ford classic, so much so it doesn’t feel like it offers much new among the director’s other works.

It’s most interesting parts revolve around John Wayne’s complex performance as a man who has buried his emotions beneath a cover of professionalism. Yorke is now martinet, but he’s a man who has put duty above his personal relations. It’s easy to forget that in many of his iconic roles Wayne was often the veteran, and here is man nearing retirement, loaded down with regrets and secretly crying out for a chance at reconciliation. Wayne’s performance is heartfelt and tinged with sadness, the sort of man who looks at his son from a distance as he performs dangerous horse riding stunts, but then backs away into the shadows, anxious that his fatherly concern remains unseen. It’s a quiet, lonely and sad performance from Wayne, a reminder of what a soulful actor he could be.

It also helps that he has wonderful chemistry with Maureen O’Hara, equally wonderful as his wife. A caring and loving woman, O’Hara’s Kathleen is also determined and independent, sure of her own mind and with no compunction about standing her ground against her husband. The two of them make a wonderful pair, two people who fear they have turned their backs on happiness for duty but secretly desperate for reconciliation. That desire certainly drips from Wayne, whose sad eyes beneath his drooping moustache seem to be constantly searching for grasping something from his life – and Ford certainly knew how to shoot this American icon with angles that made him appear like a mournful monument.

The actual plot of the film outside of this isn’t really that strong. Any shade or depth is removed from the Apaches who are faceless, ruthless killers who move like a swarm and spend the nights dancing and drinking after a victory. Even at the time there were feelings that the film was uncomfortably slanted in its view of the Native Americans. The actual story of the battle against the Apache meanders across the screen, with discussions of crossing the Rio Grande to do battle with them largely forgotten in a final act kidnap plotline that serves as the film’s action set piece.

Honestly, most of the plot outside of whether Wayne, O’Hara and son (played with an earnest honesty by Claude Jarmon Jnr) pretty much is by the numbers stuff. There are a host of songs and musical interjections from contemporary Western group Sons of the Pioneers. Ford made a virtue of the studio’s decision to include the band – apparently they loved being in the film and led a number of impromptu sing-alongs during the late night cast sessions, which basically led to Ford putting more of them in the film. The songs do add a wistful, whimsical air to the film which actually works rather well and mirrors nicely the personal drama of a family unit which duty is keeping apart.

The action when it kicks in is enjoyable, even if Ford relies a little too heavily on over cranked cameras to adjust the speed of various falls and horse riding stunts – the sped up effect actually often makes the whole thing look a little too reminiscent at times of keystone kops silent film. The best stunt sequence is done instead in real time, as Johnson, Carey Jnr and Jarmon Jnr take it in turns to “Roman Ride” two horses at a time around a course. Johnson and Carey – skilled horsemen – spent weeks training, the effect was so good that Ford suggested Jarmon have a go.

The cast is rounded out by some solid work from Ford regulars. McLaglen is good value as a decent Sergeant, one of those comic Irish types that Ford had such fondness for. Johnson is very good as a trooper on the run from the law who can’t resist coming back to the do the right thing. But the film belongs to Wayne and O’Hara, a couple looking to seize a last chance at happiness. Rio Grande may be one for the money, but it’s still got a touch of that Ford magic.

Casino (1995)

De Niro gets sucked into temptation and vice in Scorsese’s Casino

Director: Martin Scorsese

Cast: Robert De Niro (Sam “Ace” Rothstein), Sharon Stone (Ginger McKenna), Joe Pesci (Nicky Santoro), James Woods (Lester Diamond), Don Rickles (Billy Sherbert), Alan King (Andy Stone), Kevin Pollak (Philip Green), LQ Jones (Pat Webb), Dick Smothers (Senator), Frank Vincent (Frank Marino), John Bloom (Don Ward)

Scorsese’s Casino often gets overlooked in the master’s CV. Marking his first gangster film since Goodfellas, Casino is a very different film, a sort of combination history lesson and slice of violent gangster interplay, in which Las Vegas first gives these gangsters all their dreams coming true before chewing them up and spitting them out like all the other hopeless gamblers. And in doing that, it’s a perverse sort of nostalgia for the little guys being allowed to run the show – even if they did that by putting heads in vices – before they were shunted out by the even more ruthless efficiency of the mega-corporations. Because a world like Las Vegas only makes it easier for basic greed and personality flaws to take hold and ruin everything that’s good.

Sam “Ace” Rothstein (Robert De Niro) is a gambling and odds fixer, a man so expert at what he does and how he does it, so skilled at working the odds to spin out a profit for the Mafia, that the Chicago mob hires him to run their casino in Las Vegas. Rothstein turns the casino into the ultimate money making machine, understanding the odds of every bet and squeezing money out of every pore of the operation. While Sam takes care of the money, childhood friend Nicky Santoro (Joe Pesci) handles the other side of the Mafia business – increasingly abusing his position to make his own fortune on the side. Sam is further undermined by the only “against the odds” bet he ever made in his life: falling in love with Ginger (Sharon Stone), a selfish, self-destructive former hooker who is happy to take Sam’s money but will never offer him the love he craves. Disaster awaits.

Part of the reason perhaps why Scorsese’s Las Vegas epic (and the film is nearly three hours long) doesn’t have the warm regard of many of his other films is its focus on an intricate – although fascinating – explanation of how a Las Vegas casino operates, and the film’s reliance on voiceover to convey a vast amount of backstory, personal motivation and character insight. The opening hour of the film is almost entirely narrated (largely by De Niro and Pesci, although other characters occasionally intrude), as Scorsese shows exactly how a mob-skimming operation works in a casino, as well as nearly every detail of its operation, from day-to-day workings to dealing with cheats. The mechanisms of Las Vegas – along with its corruption, violence and blatant theft – are what fascinates the film. These sequences are assembled with the expected grace and skill of Scorsese and his regular editor Thelma Schoonmaker, but they lack the emotional connection of Goodfellas.

In fact, Casino might almost be some sort of tribute to silent film, so much of it is images accompanied alone by voiceover and well-chosen pop songs. It’s a film where imagery is all, with the camera prowling along the red-lined interiors of the casino itself (where daylight never intrudes), or lovingly following the progress of coins from slot machines to counting rooms to bags stuffed with cleaned bills for gangsters to carry away to their masters. It all makes for a rich and fascinating social history, even if you do feel slightly distanced from it by its near-documentary style voiceover.

But then, this voiceover does allow for a surprisingly rich character study once you plug into it. With the design stressing the demonic red-lined rooms and lights of Las Vegas – and the Saul Bass designed title sequence of a man falling through flames into a neon lit underworld – the idea of this place as some sort of hell is there all the way through. This context allows us to see three characters who are corrupted and destroyed by the pressures and temptations of five years running an operation in America’s capital of temptation and excess. And as the film goes on, everything gets bigger, from the garish colours and clothes to the music to the increasingly graphic violence.

And this film is astonishingly violent. Heads are placed in vices, people are brutally murdered by everything from pens to baseball bats, hits happen with a gruesome immediacy. And the person carrying out most of these acts is Pesci, a demonic imp lacking any sense of charm. Pesci retreads his role from Goodfellas, but even worse if possible, a man for whom violence is as second-nature as breathing. 

It makes a neat contrast through with De Niro, who dominates the film (and either appears in or narrates almost every minute). It’s one of De Niro’s calmer, most reflective performances ever in a Scorsese picture (arguably until The Irishman). He’s a quiet, meticulous, fastidious professional gambler, who never takes a chance professionally but takes huge gambles with his personal life. De Niro brings the film a calm centre, and the precision of a man who both loves what he does but is so obsessed with making things perfect he gets no pleasure from it. Unlike many De Niro roles in Scorsese, Sam is the closest you can see as a regular guy, someone who works in a world of theft and violence but sees that as a cost of doing business rather than a career choice.

It’s why he remains sympathetic, despite the destruction around him. Perhaps also helped by his simply appalling wife. Sharon Stone gets her finest part ever (she received the film’s only Oscar nomination, for Best Actress) as the self-destructive, greedy addict Ginger who doesn’t want to change anything about her life and marries Sam solely for his money, but continues her relationship with her pimp Lester (a sleazy James Woods) and snorts cocaine in front of her five-year-old daughter. But Sam takes the chance because he loves her – and this Jewish outsider, who moves in circles of Italian mobsters and Southern societies that control the state, wants nothing more than to be loved and accepted. It’s what keeps him close to Nicky – for all his horrific impulsiveness – because Nicky is the closest thing he has to a genuine friend.

It’s a theme that runs throughout the whole film. The Mafia allowed its “street” operatives to run this operation in Las Vegas – and would never allow such regular soldiers such power again – and Las Vegas itself closed its doors to these more “independent” operators in the future to give the riches to corporations and insiders. It’s part of what makes Casino such a fascinating history lesson – this is the Las Vegas we all kind of think of, dirty, corrupted and sexily run by gangsters (even if the film makes clear that these guys would crush your head for looking at them the wrong way). But it’s now a circus, an entertainment ride.  Because our heroes here make the same mistakes as the guys that go through their casino – “the longer they play, the longer they lose”.

Misbehaviour (2020)

What price progress in Misbehaviour?

Director: Philipa Lowthorpe

Cast: Keira Knightley (Sally Alexander), Gugu Mbatha-Raw (Jennifer Hosten, Miss Grenada), Jessie Buckley (Jo Robinson), Greg Kinnear (Bob Hope), Lesley Manville (Dolores Hope), Rhys Ifans (Eric Morley), Keeley Hawes (Julia Morley), Phyllis Logan (Evelyn Alexander), Loreece Harrison (Pearl Jansen, Miss Africa South), Clara Rosager (Marjorie Johansson, Miss Sweden), Suki Waterhouse (Sandra Wolsfield, Miss USA), John Heffernan (Gareth Stedman Jones)

In 1970, the Miss World Competition in London was disrupted before a world-wide TV audience by Women’s Liberation campaigners, furious at the competition being the public face of a world that judged women on appearance rather than personality. The disruption was led by post-graduate UCL student Sally Alexander (Keira Knightley) and commune radical Jo Robinson (Jessie Buckley), and rather overshadowed for many the fact that, for the first time in history, black female competitors like Miss Grenada Jennifer Hoosten (Gugu Mbatha-Raw) were treated as genuine contenders for the title. Misbehaviour recreates all this wonderfully, but also makes an intriguing exploration of the different ways women can make themselves a place in the world.

It would have been very easy for Philipa Lowthorpe’s engaging film to have designated villains – after all with the casual sexism and objectification of the Miss World competition, you could easily have assigned the competition runners as baddies. Instead the film is richer than that, full of people who genuinely feel they are doing their best in the roles they’ve been given in life. If there is a villain, it’s society itself which traps women into certain roles, and doesn’t allow them to grow.

The film follows three plot lines – the women’s liberation movement, the background of staging the Miss World Competition, and the lives and expectations of the contestants themselves. Of these three plots, the women’s liberation movement is surprisingly the least engaging. Keira Knightley and Jessie Buckley do decent jobs, but their characters are more one-dimensional and lack real development (they start the film as passionate rebels and end the film the same way), with this lack of plot being padded out by movie clichés of the “you’re off the protest” variety. 

The real interest surprisingly is the competitors themselves. Like the protestors, the film is keen to not blame the contestants. The ones we follow are smart, intelligent, passionate women who are, by and large, willing to play the game to get their future ambitions realised. We see this most of all for Miss Grenada and Miss “Africa South” (a black South African shoe-horned into the competition to counter accusations of legitimising apartheid): the competition places them in the position of representing victimised minorities, groups that have their options sharply restricted. Having spent their lives being told that only being white, blonde and blue-eyed is beautiful, the chance to set an example to others is important to them – and the film doesn’t downplay or demean this at all.

This is captured particularly in the exploration of Gugu Mbatha-Raw’s Miss Grenada, Jennifer Hoosten. A woman willing to use the competition as a springboard to try and build herself a professional career, she is an intelligent and dedicated woman who understands the nature of her competition. Hoosten however rejects being positioned as a victim, as well as the way Women’s Liberation crams all women’s aims into a single homogenous goal. Why should another group of women tell her what is best for her – isn’t that what men have been doing all her life? As a black woman, her only way to get the opportunities that someone like Sally Alexander has – education and career – is to play the hand that nature has given her the only way she can. Mbatha-Raw captures this all extremely well in a quietly judged and affecting performance.

Similar feelings motivate the rest of the competitors. Miss Africa South (an engaging Loreece Harrison) just wants to keep her head down and get home to her family, letting her presence alone make her statements. Miss Sweden (a fiery Clara Rosager) rails against the control and management of the organisers on every aspect of her life while at the competition. It’s a film where women are working to find their place in the world, but accepting that not all those goals will be the same. Keeley Hawes does excellent work as Julia Morley (co-runner of the competition with her husband, a brash Rhys Ifans), a woman trying her best to reform the competition from within.

Lowthorpe juggles these interesting themes – giving oxygen to all these points of view – within a fascinatingly precise reconstruction of the competition itself and the protest. As part of this Greg Kinnear contributes a spot-on performance as Bob Hope, here a sexist comedian from a different era who can’t understand the changing world. The film gets a lot of comic mileage as well from the jaw-dropping sexism of the BBC coverage and the drooling perviness of the reporters rushing to interview the competitors.

“This isn’t the end of anything, but this could be a start” says Lesley Manville in her waspishly delightful cameo as Hope’s wife. She’s right, the world didn’t change overnight. But as the film captures it started getting people thinking, even if it accepted that not all women will have the same view. Sally Alexander and her mother can disagree on women’s roles – “Why would I want to grow up like you?” Sally berates her housewife mother (very well played by Phyllis Logan) – but the two characters can still come together and agree that having opportunities is still better than not. And perhaps that’s what the film is arguing for: all these women are stretching for opportunities. And if that means the world needs to change so half the population gets the same chances as the other half, so be it.

The Candidate (1972)

Robert Redford as a political puppet in The Candidate

Director: Michael Ritchie

Cast: Robert Redford (Bill McKay), Peter Boyle (Marvin Lucas), Melvyn Douglas (Former Governor John J McKay), Don Porter (Senator Crocker Jarmon), Allen Garfield (Howard Klein), Karen Carlson (Nancy McKay), Quinn Redeker (Rich Jenkin), Michael Lerner (Paul Corliss), Kenneth Tobey (Floyd J Starkey)

Bill McKay (Robert Redford) has it all – the looks, the charm, the ideals, and he’s the son of former California governor John McKay (Melvyn Douglas). Who else could stand a chance as the Democratic candidate against long-time incumbent Senator Crocker Jarmon (Don Porter)? McKay is reluctant to run – but he’s promised by Marvin Lucas (Peter Boyle), election specialist, that he has no chance of winning so sure, he can say whatever he wants. But Lucas has another plan, to turn the good-looking, charismatic McKay into his ideal candidate – workshopped, bland, generic and with as wide (and shallow) an appeal as possible. And as the election goes on, McKay turns from not caring, to not wanting to get humiliated, to wanting to win. What price idealism in a political game like this one?

Today, The Candidate looks considerably less fresh and inventive than it seemed in 1972. Back then it caught the wave of an America becoming increasingly disillusioned with its leaders and elections. Then, the idea of mass media manipulating focus-grouped candidates into something pliable, bland and uncontroversial to appeal to as many people as possible, seemed revelatory. Today, when even the optimistic The West Wing chronicles how even the good guys are obsessed with being on message and putting together political ideas into simple, repeatable soundbites with image as everything, The Candidate hardly looks ground breaking.

It won an Oscar for its screenplay, but it looks behind the times now – or even telling us only what we know already. So politics is all about image? Well big news there. In its Faustus-like structure, with McKay being corrupted away from his initial principles into the sort of cookie-cutter candidate focus group organisers dream of, it should be compelling. It isn’t really, part of the problem being that, even with his ideals, McKay is not really an interesting character.

He’s a character that can almost be defined as “looks like Robert Redford”. That’s what makes him appealing – the script spends no time at all on establishing any political or social ideas in McKay early-on beyond a vague wish to “do good” with his low-key law consultancy representing only the poorest. There is a half-hearted attempt to add some daddy issues, with the son determined to never become the principle-free politician his father (a blithely uncaring Melvyn Douglas) is. But these don’t really come into shape. Perhaps that’s the point? What makes McKay so appealing to Lucas from the start is he looks like a Kennedy, but has no real personality or ideas of his own.

He is, basically, a weak person who is quickly shuttled from place to place, told what to say and what to do and willingly converted one step at a time into an even greater non-entity. McKay clings to the idea of his political videos being about an idea, but quickly accepts “ideas don’t work” in these short pieces and allows them to be turned into puff pieces praising his youth and vigour. The film does get some fun out of the emptiness of campaigning – the slogan “McKay: The Better Way” means nothing at all – not to mention McKay becoming so dependent taking direction he can’t even do a broadcast without asking if his jacket should be buttoned or unbuttoned. But it lacks a real oomph.

Perhaps that’s because the film doesn’t really have a plot or characters as such. Every person in the film is there to fill an objective, no more and no less. Even Lucas, the arch manipulator, is little more than a cipher to represent spin doctors (years before the term was coined) for whom the competition and battle is all that matters and principles count for nothing. Ritchie shoots the film with a sort of sub-Altmanesque observational style with overlapping dialogue, but never really immerses the viewer in the quick-moving world of politics, instead serving up a series of mediocre images and scenes that serve as sketches or statements (Campaign ads are empty! Politicians are pre-packaged! They don’’t answer questions!) that eventually become a bit wearing.

Without this sense of narrative, events drift by and character developments just seem to happen with no logic. Redford supplies no real character to the part, unable to convey a sense of growing corruption and ambition in his performance. So when McKay starts doing things – like the mistress he takes during the course of the campaign – it just feels like the film has a nihilistic loathing for politicians rather than the ability to make any actual points that carry weight. 

It’s a disappointment as this is a good idea, and could have really worked if the writers and directors had allowed the film to have some heart alongside its cold cynicism, or even had allowed some clear story to play alongside. Instead we simply watch McKay becoming even more empty and artificial – taking part in a debate with his rival on air, in which he skilfully never answers a single question but parrots quotes from his briefings – only addressing at the very end that all this leaves us with politicians good at winning elections but with no idea about how to run the country. While it is one of the first films of its type, you feel it has long since been surpassed.

Red Joan (2018)

Judi Dench coasts through this weak spy drama Red Joan

Director: Trevor Nunn

Cast: Judi Dench (Joan Stanley), Sophie Cookson (Young Joan), Tom Hughes (Leo Galich), Tereza Srbova (Sonya), Stephen Campbell Moore (Max), Ben Miles (Nick), Laurence Spellman (Patrick Adams)

Red Joan is based on the true-life story of Melitta Norwood, the British civil servant who from 1937 passed piles of top-secret intelligence documents to the KGB. These documents helped the Soviets create their own bomb. This feeble dramatization has Joan Stanley (Judi Dench) arrested in the late 90s, with flashbacks showing her recruitment and spy work as a young woman (Sophie Cookson), motivated by her desire to “level the playing field” and by her love for shadowy KGB recruiter Leo (Tom Hughes), a German Jew.

Trevor Nunn’s flat, dull spy story has all the freshness and imagination of an ITV Sunday night drama. Tedious, dragging and very silly, it takes a ludicrous view of 1930s and 1940s espionage. The film is obsessed with downplaying the impact of Joan’s actions, and stressing that handing over these sort of secrets was fine really because the poor Russians – Stalin’s boys lest we forget – were likely to fall victim to those Imperialist Western powers that would soon be throwing their nuclear weight about.

On top of that, the film has an almost insultingly crude idea of Cold War politics, with the world neatly divided it seems into goodies and baddies and the moral implications of actions made as simple and clean-cut as possible. Joan means well, so we can’t have any problem with what she’s doing can we? 

It’s a miracle she isn’t caught anyway since her espionage skills are so lamely ham-fisted. Maybe that’s because the investigation into the leak is handled so incompetently by the authorities, with heavy-handed arrests and quick and sudden lock-ups. But then that’s in keeping with the film’s view of British authorities as trigger-happy bullies, with even Clement Attlee reimagined as a “let’s drop one on ‘em” nut, desperate to have the bomb to threaten the Russkies with.

This simplistic vision of the past is made all the more clumsy by its feeble romance plot between young Joan and her romantic German spy and lover Leo (Tom Hughes, channelling his performance as Prince Albert in ITV’s Victoria). This romance should be the drive of events, but instead falls back on the usual clichés of young love on film, making some obvious points along the way about the lies we tell for love. 

Joan herself is absurdly reinvented as a science expert, more adept than the men she works with (who typically look down on her as little better than a tea girl). The real Melitta was indeed little more than an office worker, but Joan here is reinvented as a pioneer of physics, a genius it seems far more evolved than the mediocre men around her. Yawn, we’ve seen it all before.

Nunn’s direction is flat beyond belief – he has never really adjusted well to film, where his (even in theatre) lack of sense of pace is often exposed – but there is a decent performance from Sophie Cookson as the young Joan, a confused idealist who struggles to do the right thing. She carries the film very well – and certainly has more to do than Judi Dench.

Dench only infrequently appears, largely for a series of “I am reflecting on the past” reaction shots. These are intercut with tediously clumsy narrative-establishing interrogation scenes, which largely serve as intros to more flashbacks (“Tell us about X now…”). There is a feeble continuation of the theme that passing nuclear secrets can’t be that serious after all, with Ben Miles as her son going through a painfully obvious arc of disbelief, anger and acceptance culminating in a “nick of time” appearance at Joan’s press conference (based on Melitta’s real life front-garden press conference to the press announcing her guilt).

Red Joan has an interesting idea, but it’s told with trivial obviousness and dramatic flatness. It’s got all the inventiveness and spark of a fairly run-of-the-mill TV drama, and despite a good performance from Sophie Cookson, it’s got little to recommend it.

On the Waterfront (1954)

Marlon Brando reinvents film acting in On the Waterfront

Director: Elia Kazan

Cast: Marlon Brando (Terry Malloy), Karl Malden (Father Barry), Lee J. Cobb (Johnny Friendly), Rod Steiger (Charley “The Gent” Malloy), Eva Marie Saint (Edie Doyle), Pat Henning (Timothy Dugan), John F Hamilton (“Pop” Doyle), Ben Wagner (Joey Doyle), James Westerfield (Big Mac)

When’s the right time to speak out for what you know is right? It’s a question we’ve all faced at some point, and it’s the question that changes the life of Terry Malloy (Marlon Brando) after he is indirectly, and unwittingly, involved in the murder of a fellow dock worker. The killing was ordered by the corrupt, mob-connected union boss Johnny Friendly (Lee J. Cobb), who rules the workers of the shipyards of Hoboken, New Jersey with an iron fist. The victim was going to talk to the cops, and suddenly Terry finds himself in the middle of a major ethical bind: should he give evidence or play “D and D” (deaf and dumb) like the rest of the workers.

His bind grows ever tighter as the local priest Father Barry (Karl Malden) takes up breaking the power of the union as his own personal mission. Not to mention Terry’s growing closeness to the victim’s sister Edie (Eva Marie Saint), with whom he finds himself slowly falling in love. On the other side is his brother Charley (Rod Steiger), a lawyer and right-hand man of Johnny Friendly, who has been running his brother’s life forever, ruining Terry’s boxing career by ordering him to take a dive so Friendly could make a killing on the betting circuit. What will Terry do?

Elia Kazan’s multiple Oscar winner is a powerful, beautifully made, engrossing and uplifting modern morality drama that still packs a wallop today. Shot largely on location in New Jersey, with lashings of Kazan’s brilliant realism and ability to bring poetic beauty and emotional force to the most everyday of settings, On the Waterfront is sublime, a film to make you rail against the injustice of corruption and the unthinking cruelty of everyday folk when given a chance to stigmatise someone.

Kazan and screenwriter Budd Schulberg (whose script is a beautifully judged mixture of soulful dialogue and the rhythms of every day conversation) were both drawn towards the story after their engagement with McCarthyism in Hollywood. In this hunt for reds under the Hollywood bed, both Kazan and Schulberg named names. Both of them felt that they had been lied to and exploited by the communist movement in Hollywood – and also that Stalinist Russia was not a cause worth defending – but that didn’t stop many people rejecting them for breaking the rule of silence (the same rule that runs through this film). On the Waterfront is a heartfelt defence of the whistleblower (or the informer), and why that can sometimes be the only option open.

Based on a true story, Kazan’s film is a masterclass in carefully controlled, intelligent direction bringing out brilliant acting performances (always one of Kazan’s major strengths as director). Leading the way here is Marlon Brando, giving possibly the most famous, most influential acting performance in film history in the lead role. It’s not really an understatement to say it changed the face of movie acting. Brando here performs with a low-key, casual, almost tender naturalism that stands completely at odds with the more exhibitionist performers of the late 40s. And he funnels all this beautifully into Terry Malloy, a tough guy whom he inhabits with a vulnerability and gentleness that never once feels out of place with his temper and pride. There is instead an awe-inspiring transformation here, of the actor becoming the mumbling, uncertain character – not afraid for words to be lost, not worried about making eccentric or unexpected choices as a performer.

Two scenes stand out. In the first, Brando has his first long conversation with Edie Doyle, having rescued her from being set on by union men. In a single take – a carefully orchestrated willingness to let the actors explore the emotional truth of the scene from Kazan – Brando’s Terry shyly, gently, haltingly asks about her life and tries to explain his own. At one point, Edie drops her glove and Brando picks up the glove, fiddles with it and then puts it on – the sort of inspired naturalism that feels like nothing on paper, but on film carries a strange emotional force, a physical representation of the bond between them (and don’t underestimate the way Saint pulls the glove gently from his hand). The entire scene has the air of reality to it, Brando chewing gum, Saint wondering how much of herself to show to a man she isn’t sure she can trust. It’s masterful.

The other scene is of course possibly one of the most famous scenes in movies ever: I coulda been a contender. For films, this is like the To Be or Not To Be speech, a speech that has been quoted and riffed on ever since. But again, Brando resists the temptation throughout for histrionics – when Charley pulls a gun, Brando reacts not with shock or anger but sadness, almost tenderly pushing the gun aside and letting his voice fill with a world of regret for what has become of their relationship. Steiger is superb in this scene, but you can’t look at anyone except Brando here, awkward, sad, struggling to work out what to do with his life and finally confronting the broken past between the brothers with pointed regret and calm realisation rather than the anger and rage that other actors would have chosen. This is an actor who redefined his profession, at the top of his game.

The film is crammed with excellent performances. Eva Marie Saint (Oscar winning) has just the right measure of gutsy determination, fear and tender sweetness as the woman who opens Terry’s eyes to right and wrong. The film gained three Supporting Actor nominations (they all lost). Steiger is cocksure but self-loathing as Terry’s ambitious brother. Lee J. Cobb rages as only he can as the blowhard bully Friendly, demanding absolute loyalty. But on this rewatch, I loved Karl Malden’s moral certainty, courage and stubbornness as Father Barry. In any other film Barry’s speech railing against the dockers for being part of the system that oppresses them, all the time being pelted by food, would be the highlight of the film: here it’s just one of several stand-out moments.

Kazan was a superb visual stylist, this black-and-white masterpiece brilliantly shot by Boris Kaufman to create a world that feels the perfect mixture between the documentary realism and the theatrical. And working with a superb script that he felt such investment in helps to create a story that carries real emotional force, carefully investing you right from the start in Terry’s fundamental goodness and naivety, inviting you to feel rage on his behalf as he is sent to Coventry by his workmates. Topped off with a beautiful score by Leonard Bernstein – part jazzy, part wonderful orchestral stylings – this has barely aged a day in it’s over 60 years.

The Usual Suspects (1995)

The immortal gang in legendary twist thriller The Usual Suspects

Director: Bryan Singer

Cast: Stephen Baldwin (Michael McManus), Gabriel Byrne (Dean Keaton), Benicio del Toro (Fred Fenster), Kevin Pollak (Todd Hockney), Kevin Spacey (Roger “Verbal” Kint), Chazz Palminteri (Agent Dave Kujan), Pete Postlethwaite (Kobayashi), Suzy Amis (Edey Finneran), Giancarlo Esposito (Jack Baer), Dan Hedaya (Sergeant Jeff Rabin)

SPOILERS: If you have been living in a cave since 1995, don’t read on as I discuss the twist at great length…

“Convince me”. That’s what Customs Agent Dave Kujan (Chazz Palminteri) says as he begins his interrogation of limping, low-time crook “Verbal” Kint (Kevin Spacey). That’s certainly what Kint does – and it’s what the whole film is aiming to do in this, the most famous confidence trick in movies. The Usual Suspects is one of those once-in-a-blue-moon films where everything comes together perfectly. It’s also a sleight-of-hand movie that remains hugely engaging and entertaining even when (as surely most people now do!) you know exactly what the magician has up his sleeve. Its solid gold entertainment factor even survives today, despite the slightly queasy presence of both Kevin Spacey and Bryan Singer in its credits.

Told in flashback, the film follows the coming together of a bunch of regular criminals, pulled in for a line-up and deciding to team up. Along with Verbal, the others include McManus (Stephen Baldwin), Fenster (Benecio del Toro), Hockney (Kevin Pollak) and ex-cop turned criminal Dean Keaton (Gabriel Byrne). After a successful series of heists, the gang are conscripted by suspicious lawyer Kobayashi (Pete Postlethwaite) to take on a dangerous hijacking job for shadowy – possibly legendary – master criminal Keyser Soze, the bogeyman of the criminal classes. We know the job will go wrong – after all Verbal is banged up telling the whole story, the only survivor of the job – but how? And who is the shadowy Soze – or is he even real at all?

The Usual Suspects takes what you know about movies and then works double time to use it against you. With a structure inspired by classic noir crime films from the 1940s – the whole operation has a touch of The Asphalt Jungle while the interrogation has more than a hint of Double Indemnity – mixed in with a lot of Rashomon, it’s a movie that has you primed so much for a reveal and a twist that it skilfully misdirects you into expecting the wrong thing. Because how could you guess that perhaps the whole movie is a spun-out-of-the-moment invention by Verbal, and that possibly almost nothing we see during the course of its run time even happened. 

But how can we guess? From the very first scenes with Kujan and Verbal, Kujan is shot dominating the frame, always taller, always filling the screen. Verbal is sitting, meek, trapped by the frame, the camera frequently looking down at him. Every shot subliminally tells us that he is weak. The story has to be dragged out of him, with the investigation outside of the room forcing Verbal to expand on issues he doesn’t want to touch on. Like Kujan we invest in what we are finding out, because it looks like Verbal doesn’t want to tell it to us. That’s how they get you.

Because Verbal, in his story, is sprinkling in just the twist that Dave (and the audience) is probably expecting – that Gabriel Byrne’s Dean Keaton, the guy who claimed to have gone good, who just wanted out, was bad the whole time and was the criminal mastermind this whole time. Christopher McQuarrie’s ingenious script primes us for this: Dave Kujan is casting doubt on Keaton’s “death” right from the start, and as the audience surrogate figure we want to be as smart as he is. So what does it matter that we ”see” Keaton shot in the opening sequence of the film? Surely that was an illusion, and we’re as clever as Kujan in seeing through it.

The film even gives us a brilliantly assembled “reveal” series of edited flashbacks, in which every small moment and hint that has existed in the film is replayed for us (John Ottman’s editing is flawless here – and he should also have credit for composing the film’s hauntingly classical score) to convince us, beyond a shadow of a doubt that, yup, poor simple Verbal was taken in all the time by dastardly Keaton, the guy who looks like a film star. Only of course it’s bollocks. That charred corpse that Singer jump cuts to at the start of the film as police investigate the boat massacre is indeed Keaton. And the clever twist we thought we were working out, turns out to be a mass distraction laid out for us by Verbal and the film.

So we get a second brilliantly edited reveal sequence as it hits Kujan while he studies that most famous notice board in film, that everything he thought he had worked out had been spun out of hints and clues off the board – from asides and anecdotes to entire locations and characters. And Kevin Spacey limps and then walks away, shrugging off the skin of timid, weak Verbal to transform into the chillingly amoral Soze. It’s a trick that worked especially well when Spacey was an almost unknown actor at the time (today it’s less of a surprise to find out that Spacey could be a creep). There is possibly no better reveal in Hollywood.

But the film continues to entertain even when you know it because Singer’s film is stuffed with richly layered characters, scintillating scenes and some rich and spicy dialogue from McQuarrie. It’s a brilliant combination and provides every scene with a clear and electric dynamism that makes it impossible to tear your eyes away. There are some truly striking scenes – not least the iconic line-up scene – and the film carries an improvisational energy (that line-up scene is a magic use of outtakes, as the actors couldn’t keep a straight face during the sequence).

Part of the magic of it comes from the brilliant clash of a group of vastly different actors bouncing off each other: the self-consciously method Baldwin, the edgy energy of Pollack, the chilly technique of Spacey and the classically trained professionalism of Byrne, who pulls off with aplomb a difficult job of playing a decoy protagonist and antagonist in one. And that’s not mentioning the wild card of Del Toro who, working out his character was a one-note plot device, throws in an eccentric chic and impenetrable mumbling accent that is part affectation (the sort of thing that made the actor more trying later in his career) and part jaw-dropping show of confidence. And backing them up is a collection of actors as eccentric as Palminteri channelling Law and Order with a smile and Postlethwaite as a sinister limey lawyer with an accent that sounds like it hails from the Raj.

Singer’s direction is flawlessly confident, creating a rich tapestry that you could lazily call Tarantinoesque, but actually reminds you of John Huston in its carefully framed mise-en-scene. It’s a very classical movie in its way, that loves clever wipes, slow build ups, brilliantly edited and surprisingly low key in much of its framing and shooting. Everything is perfectly placed to help build up the illusion. Singer never touched these heights of confidence and control again. It’s also superbly edited throughout by John Ottman, each beat landing perfectly, each transition perfectly judged. It wouldn’t seem out of pace to see Cagney playing Kint (with Bogart surely as Keaton). 

The devilish trickiness of the plot is kept largely under wraps until late on – Soze isn’t even mentioned until nearly halfway through the film – and the film’s confident misdirection suggests this might just be the gang aiming too high and getting burned rather than a shadowy mastermind manipulating it all. It’s a brilliantly judged change of pace, and all part of the impish delight of the film. It’s a clever game, but has more than enough force and invention in its story telling to keep you gripped time and time again. McQuarrie and Spacey won Oscars – and the film hinges so much on Spacey’s ability to both tell an anecdote and also not push his acting lame – and the film lives on forever in the memory as one of the finest twists. But it does so because the twist grows so organically from the film, and the film’s delight in tricking you is completely infectious.

Raging Bull (1980)

Robert De Niro takes to the ring in Scorsese’s marvellous Raging Bull

Director: Martin Scorsese

Cast: Robert De Niro (Jake LaMotta), Joe Pesci (Joey LaMotta), Cathy Moriarty (Vickie LaMotta), Nicholas Colasanto (Tommy Como), Theresa Saldana (Lenora LaMotta), Frank Vincent (Salvy Batts), Lori Anne Flax (Irma LaMotta)

On the surface, Raging Bull seems an unusual topic for Scorsese. A sports biopic? For this, the least sports-engaged director in Hollywood? Even in Scorsese’s most masculine works, sports are always noticeable for their absence. But Raging Bull is a masterpiece, a film whose legacy has seen it named as the greatest film of the 1980s, showcasing possibly Robert De Niro’s most famous performance. A brilliant combination of art, searing personal drama and boxing, Raging Bull may not always be the easiest watch in the world, but it’s a scintillating piece of cinema.

Opening in 1964, we see the overweight, ageing Jake LaMotta (Robert DeNiro) preparing for a comic stand-up routine. From there, the film flashes back to the younger Jake in the ring, with the film following LaMotta’s boxing career. However, the real drama is in his out-of-the-ring relationships, with his brother and manager Joey (Joe Pesci) and his second, younger, wife Vickie (Cathy Moriarty). LaMotta inside the ring is a bull, a man who can take unbelievable levels of punishment. Outside the ring though he is a fragile, paranoid, self-loathing man with a sharp self-destructive streak, whose envy and jealousy systematically destroys every relationship he touches.

Watching the film, its clear Scorsese knows very little about boxing but fortunately he knows everything about filmmaking. Raging Bull is a marvel, a superbly made and directed marvel. Scorsese’s triumphant decision was to shoot the film in black-and-white (some truly beautiful work from Michael Chapman). This gives the film both the classic, gorgeous feel of a 1940s Hollywood movie, but also allows the boxing matches themselves to take on an almost impressionistic artistry, with powerfully emotive monochrome images. The photography also creates a stark, documentary like sense of reality for the many scenes of domestic disharmony and violence, while later shots brilliantly allow LaMotta (lost in self-loathing and disgust) to almost disappear into the inky darkness of the frame. Raging Bull would be half the film it is, if it was in full colour.

Recovering from a cocaine addiction that nearly killed him, Scorsese was intimately familiar with self-destruction – and its perhaps this that drew him towards LaMotta’s jealousy, possibly the film’s major theme. LaMotta is a self-loathing individual, who sees little value in himself, who treats pummellings in the ring like just punishments and believes everyone is betraying him. It’s one of the finest films about the green-eyed monster ever made. Obsessed with his younger wife – whom LaMotta first encounters at age 15 and whom he marries as soon as she is legal – LaMotta also earnestly believes she is sleeping with every man around. It’s clear that these paranoid fantasies stem from his own disgust at himself, LaMotta’s own conviction that there is nothing of value in him.

It’s this jealousy that really destroys LaMotta, his trigger-happy temper seeing him able to switch on an instant from a calm – but monomaniacal – insistence that he just wants to know the truth about his wife, to indiscriminate violence. LaMotta is an impulsive, excessive creature who does everything to a huge degree, from doubting his wife, to shovelling food into his guts. Scorsese’s camerawork – particularly it’s La Dolce Vitaish love of Cathy Moriarty – reflects LaMotta’s internal dysfunction. It worships Moriarty in the same way LaMotta does, but also reflects his obsessive possessiveness.  

All of this is further captured in Robert De Niro’s iconic performance. De Niro won the Oscar for this stunning tour de force. Raging Bull became almost as famous for De Niro’s all-consuming preparation: he trained for months to achieve the physique and skill of a professional boxer (he even entered some professional bouts, winning two out of three). He then went completely the other way, the entire film going on a four month hiatus while De Niro went on an eating tour around Italy to pile on the pounds for the ageing, overweight LaMotta. At the time it seemed like no other actor had gone to such levels.

This focus on De Niro’s preparation sometimes obscures in the mind the genius of the actual performance, as if we have almost been blinded by the training and technique behind it. De Niro’s energy, his fury, his intelligent understanding of the fractured mind of the paranoid brilliantly brings LaMotta to life. So intense is the actor’s understanding of the disgust that lies at the heart of LaMotta’s personality that, even at his worst, the man is never completely unsympathetic. De Niro rages through scenes of jealous outbursts and violence, but he also has a childish gentleness of the man unable to understand the world around him, twice in the film collapsing into bursts of affecting tears. The older LaMotta is perhaps wiser, but just as inarticulate in emotions as his younger version and as unable to fix the damage. It’s a masterful performance, a physical and emotional tour-de-force.

De Niro also worked closely on the choreography of the boxing scenes, which allowed Scorsese the freedom to shoot these with an imagination and brilliance that had never been seen before. Each fight has its own unique feel, with Scorsese understanding that this sport is a neat parallel for how LaMotta sees life, a series of brutal clashes with pride and self-regard on the line. Scorsese’s fights are elemental clashes – the soundtrack frequently uses slowed sounds to create an animalistic roar.

The camera is frequently thrown into the ring with the pugilist – and LaMotta here is really more of a pugilist than a boxer, there is very little sense of tactics – with low angles and tight camerawork. Scorsese puts the camera – and the viewer – into the ring, making us part of the fights. Every punch and blow carries impact, and this is perhaps the most blood drenched boxing film in history, with the darkened liquid covering the faces of the fighters and dripping from the ropes of the ring. The fights reflect LaMotta’s mood, with one late fight seeming like an almost medieval battle, mist rolling in and the fighters flying at each other with a reckless abandon. There is nothing romantic about boxing here, it’s a grimy reality of violence with a purpose and brute strength, endurance challenges that only the strongest can emerge from.

LaMotta’s confidence and mastery of the ring is contrasted throughout with his lack of nous and understanding in the real world, and his ability to destroy everything he touches. Joe Pesci excels as his supportive brother who realises far too late the uncontrollable anger at the heart of this fighter, while Cathy Moriarty is also excellent as a young woman whose only real mistake is to want to live some part of her own life. Scorsese charts LaMotta’s destruction of both of these relationships, culminating in the washed up boxer pounding the walls of a jail cell weeping and screaming “Why! Why! Why!”, hatred for his self-destruction dripping from every pore.

Raging Bull looks unlike any other boxing film, instead like a perfectly formed art piece, its soundtrack full of classical tunes and its photography adjusting between the beauty of neo-realism and the cold realities of documentary film making. It’s superb, a masterful film, a work of art and also a profound understanding of the destructive impact of jealousy and self-loathing. Showcasing career defining work from De Niro, it’s no wonder this is still hailed as the greatest film of the 1980s and one of the greatest of all time.

Hustlers (2019)

Constance Wu and Jennifer Lopez head out to get what they want in Hustlers

Director: Lorene Scarfaria

Cast: Constance Wu (Destiny), Jennifer Lopez (Ramona Vega), Julia Stiles (Elizabeth), Keke Palmer (Mercedes), Lili Reinhart (Annabelle), Lizzo (Liz), Cardi B (Diamond), Mercedes Ruehl (Mama), Wai Ching Ho (Destiny’s grandmother)

Greed. To many people, it’s what powers society. Those at the top believe anything can be bought, that they can have anything and everything they want simply because they have the money to pay for it. Hustlers suggests that nowhere is this more true, than in a New York strip club. The rich and the powerful, the masters of the universe, descend on these clubs for their after-hours play and assume their ocean-like wallets will open every door for them. Can we blame the strippers if they decide to exploit this for their own gain?

Opening in the build-up to the financial crash of 2008, Dorothy aka Destiny (Constance Wu) arrives at Moves, a prominent New York strip club, the night-time spot of choice for the super-rich from Wall Street. Money flows liberally in return for the strippers’ performances and their stroking of these masculine egos. Destiny comes under the wing of the club’s star, Ramona Vega (Jennifer Lopez), who teaches her how to manipulate men for cold hard cash. But when that financial crash comes, both women find themselves out of work. In the new atmosphere, the clubs are now staffed by dancers from Russia willing to go further with the men for money. Thrown back together, Destiny and Ramona start a new hustle – target rich men in clubs, get them drunk (and later just simply drug them), drag them to Moves and max out their cards (with the ex-dancers taking a healthy cut). But as the strippers themselves become rich, they start to get greedy. Things aren’t going to end well…

Sharply and wittily directed, Lorene Scarfaria’s film is an excellent crime movie with a little bit of social commentary thrown in. Fast paced and done with just the right amount of flash, it brilliantly rejigs the usual lens that we see strippers through in Hollywood movies. Rather than clichés, hookers with hearts of gold or props for the male characters, here the strippers are real, rounded people working a job – a job that just so happens to involve taking their clothes off. There may be fun to be had at times, but it’s a performance, a show – and a large part of Ramona’s skill is to effectively and convincingly play what she knows the men want to see.

That’s what Scarfaria’s film shows – it’s all a careful hustle, a clever series of tricks and techniques used by strippers to minimise the amount of contact with the customers (and the indignities of their lecherous hands) and maximise cash return, over the longest period of time possible. And these rich Wall Street types are too arrogant and convinced of their own excellence to even notice. The men come out spectacularly badly, a bunch of leering assholes who believe money gives them the right to do anything they like. Scarfaria shoots this with a snazzy Scorsese-ish zing which makes the entire film bounce along like a light version of Goodfellas and Wolf of Wall Street.

And the film has a great deal of admiration for these women who decided to turn the tables – who dealt with the fact that they were basically trapped into a certain role by society by using their skills to steal from the rich. The scheme of conning men is perfect at first – after all what powerful man is going to want to say that he was drugged and fleeced by a gang of attractive women? What is interesting is that the greed that corrupted the men, is gradually the thing the corrupts the women as well: the more successful their scam is, the richer they become, the more they become obsessed with status symbols, just as the men treated them. It doesn’t take long for crime to start moving on from its original Robin Hood targets into something far more indiscriminate.

Leading that charge into hitting any and every target for as much as they can get (rather than a careful but continual fleecing of a select group) is Jennifer Lopez’s Ramona. This is the role Lopez has been waiting almost twenty years for, a charismatic woman so firmly in control of her own life she doesn’t even notice when it starts to hit the skids. It’s the sort of scene stealing role that demands the energy and personality Lopez can bring to it, Ramona being part mentor and mother and part greedy livewire. If you forgot what a promising actress she was in the 90s, this is a great reminder. Ramona is a force of nature, the woman who demonstrates sex is a tool that can produce fabulous, fortune making results. But she’s arrogant enough to let greed and her innate belief in her own infallibility guide many of her decisions.

Lopez also forms a wonderful partnership with Constance Wu in the “Ray Liotta” part of the young naïve innocent, drawn under the mentor’s wings who eventually has to turn against her. Wu draws a lot of charm out of the young stripper learning the ropes, but crosses this really well with an ambition and ruthlessness that only late on finds its limits. 

Hustlers bounds along telling a winning, crowd pleasing story with a depth and emotional force that produces great results. We root completely for its female leads, keeping them relatable even when their actions become less sympathetic. Strikingly directed by Lorene Scarfaria, it’s a film about women that makes themselves firmly the authors of their own destinies – and their own mistakes.