American hustle review movie show,emergency lesson plans grade 8 123,aluminum seadoo trailer,emergency preparedness plan policy and procedure - Review

The subtle tension builds and bubbles along nicely as the film gathers pace and the laughs keep on coming.
Perhaps a little longer than it needs to be and it does get off to somewhat of a slow start. Director David O’Russell is on a roll at the moment following the respective successes of The Fighter and Silver Linings Playbook.
Of course, this could never be the case if O’Russell was unable to entice the best out of his actors and so it’s further testament to his directorial abilities that Christian Bale and Amy Adams (The Fighter), Bradley Cooper and Jennifer Lawrence (Silver Linings Playbook) have all given powerhouse and arguably career-best performances under O’Russell’s guidance.
Perhaps no surprise, then, that O’Russell reunites with this star-studded crew for American Hustle, an epic crime-caper set in the late 1970s in which Bale’s and Adams’ con-artist duo are forced to work for Cooper’s overzealous and over-excitable Federal Agent to help him bring down some high profile politicians, most notably a well-meaning Mayor played by Jeremy Renner, sporting one of the most ridiculous wigs ever seen on screen. That being said, the wigs, haircuts, costumes and the soundtrack all helped give the film its intended period feel and it felt like the cast and crew were having fun with the various costume changes and styles. As for the actors themselves, it’s fair to say that their performances are at the very least on par with their previous O’Russell collaborations, if not better. Cooper has been riding a parallel wave of success along with O’Russell over the last few years, proving what a fantastic character actor he is. Adams is just a brilliant actress and always consistent but it was great to see her getting a lot more screen time here and playing a bigger role than in previous outings.
Bale himself gives a perfectly balanced performance, not too understated and not too over the top as the film’s focal point of moral conflict whereas Lawrence is just outstanding as the comically unstable stay-at-home Mum. It is probably a little longer than it needs to be and it does get off to somewhat of a slow start but I doubt too many people would complain because ultimately this is just great fun and utterly engrossing.
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Their work, however, attracts the attention of an ambitious G-Man called Richie DiMaso (Bradley Cooper), who strong-arms them into working on his own, wildly elaborate undercover project: a corruption investigation into the office of Carmen Polito, the New Jersey mayor (Jeremy Renner, resplendent in a sky-blue suit and windproof pomapdour). Sort of based on true events, American Hustle tracks a pair of New York City con-artists in 1978 as they get roped into helping an overeager FBI agent entrap politicians for taking bribes in the redevelopment of Atlantic City, inadvertently involving the mob. American Hustle is a delightful period caper, and though at times it seems like the film is sneeringly mocking its characters and the time period, the cast keeps it from sinking into parody.
The characters stay interesting and the audience would hopefully be so invested in the story that they’ll stay rooted right up until the ending. This is a delightful blend of comedy and thriller that will keep most audiences captivated throughout.
Two fantastic yet very different films but both of which demonstrating O’Russell’s various directorial talents which include pure story-telling ability to perfectly timed injections of comedy.
This sense of fun certainly puts American Hustle up there with one of O’Russell’s more comedic films and there are several laugh-out-loud moments, but this is not to say you should expect an outright comedy.
This performance (a phenomenal supernova of nervous energy, stress and determination), in my opinion beats his efforts in Silver Lining Playbook and even in The Place Beyond The Pines in which he perhaps took everyone by surprise by his performance. As excellent as she was in The Fighter, for example, that stage belonged to Bale and Whalberg, but in American Hustle she gets her own spotlight and absolutely takes the opportunity to deliver. It’s almost a shame that she doesn’t get quite as much screen time as the others but then again her sporadic appearances provide the right amount of humour at just the right times. Some way down the line the mafia are also implicated, and Robert De Niro makes a totemic and terrifically enjoyable appearance as Victor Tellegio, a major player in the East Coast mob.
Of course, Rosenfeld’s loose-cannon wife (Jennifer Lawrence) threatens to sour the entire operation. Bale and Lawrence once again turn in tremendous work for the director who helped them each win Oscars, and Cooper is better than he’s ever been, allowing himself to disappear into a very complex and unhinged character.


Boardwalk Empire fans will be delighted to see Jack Huston and Shea Whigham in attire from a different period, and Jeremy Renner and Elisabeth Rohm are terrific as the noble but conflicted mayor and his wife, while Louis C.K.
There’s nothing to really distinguish it as a film by Russell aside from his regular stars.
Above all, what always stands out (for me, anyway), is the way he conveys his characters and personally invests in them, providing each one with a platform to express every nuance, every flaw and every strength of their personality. The characters stay interesting and the audience would hopefully be so invested in the story that they’ll stay rooted right up until the ending, which could have been something of an anticlimax but thankfully concludes with the perfect blend of cheek and panache which the build-up warrants. In both films Lawrence’s great work is undermined by the fact that the actress, now 23, is just too young for the roles. He sees and treats them as more than just simple vehicles to deliver the lines or move the story on, they’re real people to him and I tend to forget that I’m watching actors on the screen when I watch an O’Russell film; I’m watching real people, too. It’s that investment in the characters themselves and the insight into their personalities and their lives which really make these ideas notable and hit home. This is a serious piece of filmmaking that delights in its own sequin-covered silliness; a who-knows-how-faithful account of a real-life FBI sting that dares you to doubt every detail. The impression you get from American Hustle is that the cast have been given something close to free rein with their dialogue and performances, and the fun they are plainly all having is contagious. The director works in a loose-limbed, coarse-grained screwball style that I have in the past found allergically irritating, but for this story, it is a perfect fit. Better still, he laces it with flourishes cribbed from Goodfellas- and Casino-era Martin Scorsese: the telling voiceovers, the hell-for-leather momentum, the joyous jukebox soundtrack.



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