| Actors: Burt Reynolds, Catherine Deneuve, Ben Johnson, Paul Winfield, Eileen Brennan Genres: Drama, Mystery & Suspense Sub-Genres: Drama, Mystery & Suspense Studio: Paramount Format: DVD - Color,Widescreen - Subtitled DVD Release Date: 06/21/2005 Original Release Date: 12/25/1975 Theatrical Release Date: 12/25/1975 Release Year: 2005 Run Time: 2hr 0min Screens: Color,Widescreen Number of Discs: 1 SwapaDVD Credits: 1 Total Copies: 0 Members Wishing: 9 MPAA Rating: R (Restricted) Languages: English Subtitles: English |
Member $avings: $7,134,376.79
|
DVDs Available: 76,504
|
Members Online: 23
Your source for swapping dvds online... Watch...Swap...Save
Search - Hustle on DVD
  | Hustle Actors: Burt Reynolds, Catherine Deneuve, Ben Johnson, Paul Winfield, Eileen Brennan Genres: Drama, Mystery & Suspense R 2005 2hr 0min Everybody "hustles"-especially in Los Angeles where suicides, strip joints, shootouts, porno movies, the mob and murder combine into a collage. Caught in this web of modern reality is an old fashioned detective (Reynolds).... more » |
Larger Image |
Movie DetailsSimilar Movies
Similarly Requested DVDs
|
Movie Reviews"Everybody Hustles." B-MAN | Earth, occasionally. Until I get bored. | 07/26/2002 (3 out of 5 stars) "One of the last 5 films by director Robert Aldrich (Kiss Me Deadly, Apache, The Dirty Dozen) and starring pre-moustache/Bandit Burt Reynolds (who also starred in Aldrich's previous film, "The Longest Yard") as Phil Gaines, a L.A. cop who would rather be living in the 1930s when life was cleaner. Ironically, he is in love with a prostitute (Catherine Deneuve). They have dreams of going away and starting a new life together, but never make it. The other side of the story concerns Gaines' case of Gloria, a teenage girl found dead on the beach and the Father refuses to believe that she committed suicide. His reckless investigation and obsession with revenge on his daughter's "killer" ends in the murder of an important, yet crooked and slimy attorney, Leo Sellers (Eddie Albert). Also co-starring is Ernest Borgnine as Santori, Gaines' boss, but he doesent quite seem on the "up & up". "Hustle" is not that bad, although it's also not spectacular. It is a pessimistic film, like a modern film noir, that in the hands of any other director or actors would probably not have had much significance. Many elements, especially the vulgar language and the drugs/porno theme (common in the 1970s) are what help this to get lost within the slew of 70s exploitation films. I would probably not have seen it if it were not for taking a film course where the focus was on the films of Robert Aldrich. As of yet, the film is not available on DVD and you're lucky if you can even rent the VHS, let alone own it. Still worth a look for fans of Aldrich, Reynolds (before "the bandit") and 70s cop or exploitation film. Trivia: *Look for Robert Englund (Freddy Kreuger) who shoots Burt Reynolds during the store robbery. *Look for Catherine Bach (Daisy Duke) as Peggy, a porn actress and former roommate of Gloria" Despite efforts, Hustle falls short B-MAN | 06/02/1999 (2 out of 5 stars) "Hustle is an attempt at the film noir of the 1940s. A clean shaven (and tougher looking) Burt Reynolds is a streetwise L.A. detective with a problem. He's fighting crime while committing somewhat of a crime himself: his girlfriend is a hooker (played by the venerable Catherine Deneueve). What a premise! Perfect for film noir...but. But the entire idea wasn't thought out enough to achieve its goals. First off, film noir is visually darker, slicker. Hustle's locale should have been New York(even Seattle, if you want to stay on the left coast)--someplace with stints of bad, dreary weather. But L.A.? Director Aldrich had to stretch it by actually putting in several rainy, night sequences. Second, film noir is supposed to have an sense of mystery about it. Hustle (despite a cast of several Oscar winners) has all the awe and mystery of an episode of Starsky and Hutch. Last, film noir dialog is gritty, memorable. Hustle's dialog is too gritty--more filthy than gritty. It's full of too many sexual inuendoes that are memorable but unrepeatable. Despite its efforts, Hustle falls way short of classic noir. It's instead mired somewhere in that muttled gray mess of bad 70's cinema." What might have been...or not. Midge | The Heartland | 06/22/2005 (3 out of 5 stars) "Those born in the Reagan years may not realize that for a brief shining moment in the late 1970s, Burt Reynolds was the most popular movie star on the planet. Just prior to that, in 1975, he made this movie, and gives a creditable, serious and even moving performance. If he had not grown the mustache and played up the good old boy shtick and annoying high pitched laugh, he may not have been Numero Uno for those couple of years, but he might have been taken more seriously and made better movies. Perhaps not. This is the man who was first choice to play the Jack Nicholson part in TERMS OF ENDEARMENT and opted to do STROKER ACE instead. In any event, this is a good example of gritty, bleak 1970s movie making, when mainstream Hollywood flicks could be dark and even have an unhappy ending. In 1976 ROCKY came along and changed all that. A little dated, and a less than crisp DVD transfer, but worth checking out." The good, the bad and the indifferent Trevor Willsmer | London, England | 03/12/2007 (3 out of 5 stars) "At times it's hard to know quite what to make of Hustle. There's certainly a good film in there, but there's also a bad one as well and Robert Aldrich doesn't make the two into something entirely cohesive. Joseph Biroc's photography is somewhat schizophrenic too. The police station interiors and night shots look great with a classic neo-noir look to them with their deep blacks, but some of the daytime work looks like painfully artificial TV movie stuff. Some of the editing is awkward and some of the writing so on the nose it's like someone decided to film `My First Cop Movie' while the references to Moby Dick (the film, not the book) come over as Symbolism 101, but then it delivers something good enough for you to want to file away and use yourself at a later date.
Where it scores is in its portrait of a job and a place where you can all too easily lose all sense of yourself, a side of Los Angeles the film captures remarkably well (there's a reason so many Angelinos move to different States or even countries). Burt Reynolds' cop is so desensitized to his job that he obliviously talks to the morgue staff about football scores while escorting a father to see his daughter's dead body, behavior no-one finds shocking in a place where people only count if they're `somebody.' In many ways the most impressive thing about it is its determination to avoid becoming a murder mystery: no-one, least of all Reynolds, has any interest in investigating a murder, and neither does the film. Instead it's more interested in the emotional fallout from the death and how it affects (or rather fails to affect) those around the death. It all ends in violence, naturally, albeit with the caveat that you end up paying for the sins you didn't commit rather than the ones you you did. " |
