The Hustler is an incredible film and after watching The Color of Money, you not only appreciate it more but realize how unnecessary Color really is.
The acting is pretty strong but it is very obvious that Scorsese's heart is not in this material, I believe he admitted to doing it to help fund The Last Temptation of Christ and it is quite obvious, if so. Also, one of the worst endings I have seen in some time.
The good book says that this is Scorsese in workman mode, building B.O. cred for Last Temptation of Christ. Yes, it's frivolous, even with the big themes it flirts with, but the dialogue crackles, and the tag team of Ballhaus/Schoonmaker ensure it's never boring to look at. Newman is great—he could do this in his sleep—even if that means Cruise looks painful next to him. When naysayers trash it, they're hustling you.
Everywhere The Hustler evokes sadness, this movie tries to be stylish. Everywhere The Hustler captures your interest, this movie makes you want to break a pool cue over Tom Cruise's neck. -- PolarisDiB
Entirely useless, of no value or interest whatsoever. The idea of a follow up about Fast Eddie Felson is promising, but without George C. Scott reprising his role as Bert there is simply no reason for the film to exist. See THE HUSTLER, if you haven't already.
Scorsese's worst. It's not one of the worst films ever but it's certainly one of the most pointless. Well, except to get Newman an Oscar. Only 1 star for Mary Elizabeth Mastrantonio and that's it. Worst ending ever, seriously what the fuck was accomplished in the entirety of this 2 hour trainwreck. Even as a massive fan of Scorsese, I urge everyone to avoid this at all cost and revisit Rossen's masterpiece instead.
It suffers some in comparison to The Hustler but Color of Money is a really great film in its own right. The performances all around are really tightly observed and the plot is exciting and surprising. A cool follow up the the Fast Eddie character.
Sequel to an undisputable classic. Scorsese delivers a fine cocktail, great timing, photography, and performances, especially Paul Newman's "fast" Eddie Felson the one and only hustler, this time back for some more struggle against himself.