It's got all the hallmarks of what makes baseball an American institution: fathers and sons, mythology, martyrdom, corporatism, timelessness, etc.
The problem is that is also has a number of other archetypes, notably of the Hollywood tradition. It's almost a proto-Forrest Gump in many ways, and that certainly isn't a compliment. It needs a few spoonfuls of sugar in many places, it's self-seriousness is totally cloying.
That being said, the end is actually spectacular, even as it sits snugly within the very things that make the film problematic. It goes to show exactly why Hollywood archetypes prevail I guess.
I wish I had seen this when it came out so I could have read the plethora of think pieces that I remember seeing and never actually giving a glance.
Rarely does a film with an intended mass audience in mind tackle such provocative and complex ideas. Addressed within are issues such as the governmental usage of ideology to exert control over its people, the influence of mass media, class issues (and divides), the nature of opposing political action and…
David O. Russell's previous two films have been modern operettas sung in Jersey slang. Moving his drama into domestic spaces of intimate yet explosive proportions Russell seems able to make mountains out of molehills, mostly due to the stellar performances he brings out and his command of capturing the chaos of his characters scenarios.
With American Hustle he branches out into a more exploratory and energetic camera style as he glides and manoeuvres in and out of rooms and up…