In the modern age, American cinema has grown exhausting. For most major studios, they have sacrificed original stories in favor of cramming in as much intellectual property into two hours that they could. While certain shared universes pull it off better than others, there are times when a Scoob! (2020), Ready Player One (2018), Space Jam: A New Legacy (2021), or Chip N Dale (2022) becomes so distracting that it sacrifices a greater story. It goes from having these exciting tidbits to something that grinds the story to a halt, ultimately making one realize “Hey, look what we could afford to feature!” In the concept of too much of a good thing, America has decided to figure out how to break the barrier a little more.
But again, not everything that embraces self-indulgent crossovers is bad. Those who know how to write a good story usually can make it feel like a natural extension. While it’s true that Hustle (2022) isn’t necessarily in the same ballpark as the aforementioned titles, it is still a story that relies on more than 25 NBA athletes doing significant cameos and stroking the egos of their industry. In the season of their 75th anniversary, a film like Hustle is something unprecedented. It’s an underdog story that may be corporately funded to a fault, and yet it uses all of its parts so well. Without an ounce of subtlety in sight, Hustle is the biggest love letter to what The NBA could achieve and keeps that vision alive for a new generation.
When thinking of the story around Bo Cruz (The Utah Jazz’s Juancho Hernangomez) rising from street ball in South America to the big leagues, there are a handful of stories that come to mind. They’re ones that make for good fodder during pregame segments in-between pre-taped interviews and hosts running stats. It’s the underdog rags-to-riches tale. It’s one of how Trae Young was discovered because the right person walked across the hall of a gym and saw him practicing alone. It’s of Jimmy Butler or Patrick Beverley going from pinching pennies for their family to some of the hardest working players in the league. Even current phenomenon Giannis Antetokounmpo is getting his own Disney+ film in the near future. Even as a fictional figure, Bo Cruz is part of a familiar story, and one that has gone international as more athletes are pulled predominantly from Europe. The game is continually getting more interesting, and Hustle knows that very well even during its most conventional moments.
It helps that Adam Sandler is an actor known for his love of basketball and in his most recent hit Uncut Gems (2019) starred as a sport betting jewelry dealer who gets in way over his head. To say the least, Hustle is far more wholesome and predictable. Maybe it’s coincidental, but even the idea of having him be a talent scout for The Philadelphia 76’ers recalls Rocky (1976). As Bo wakes up early for a training montage, one can’t help but imagine Bill Conti’s “Gonna Fly Now” playing in the background. This is the story of someone who comes from outside the system getting their chance, and it’s not a direct line. There are stops and starts, but they’re ultimately rewarded. Two men bond over the love of a sport and teach each other empathy. It’s a nice little sports drama that lacks many of the lowbrow Sandler jokes that often alarm more prudish fans.
As far as characters go, Stanley Sugerman may be one of Sandler’s most immediately likable characters he’s ever played. Along with being a talent scout, he is a has-been athlete with his own story of misfortune. He prides himself on being in the league even if it’s behind the scenes. Through the opening credits that see him sitting in auditoriums around the world, it’s revealed that he misses his daughter’s birthday and often feels lonely. When he gets the chance to be a coach by The 76’ers owner Rex Merrick (Robert Duvall), his death leaves him in the hands of his son Vince (Ben Foster) who cancels any promotion. Gone are the plans to sit still for long. He’s back out there looking for the next big name that will fix the franchise.
It helps that he has good chemistry with his wife Teresa (Queen Latifah) who keeps him in check with a harmless yet antagonistic demeanor. It’s the constant reassurance that even when he doesn’t feel loved, he’s there. As adults from another era, they think of their icons like Julius “Dr. J” Irving and laugh when daughter Alex (Jordan Hull) mistakes him for someone who practices medicine. Given that she’s a filmmaker who loves watching Evil Dead II (1987) at cemeteries, she is disconnected from her family, though not in a typical rebellious teen way.
The parallels with Bo Cruz’s life are evident and obvious. He performs a hustle to cover costs for his wife and child. Like all the best stories, Stanley just so happens to be on the right street when Bo has a monstrous game, surrounded by people watching in amazement. Credit to director Jeremiah Zagar for making every game feel alive with consistent momentum. If it’s not dribbling the ball or alley-ooping off the backboard, it’s the trash talk or Stanley watching in awe. He captures the life of these athletes, finding intimacy as they try to prove why they deserve a spot on the roster. As things go along, Stanley ultimately just wants Bo to be part of The NBA Draft even as conflicts arise – only part of which is shaping raw talent into something undeniable.
There have been several films that celebrate basketball that miss the mark or aren’t simply that accessible. Even great films like He Got Game (1998) use it more as a backdrop to reflect conflict on a more personal level. Even if these films feature cameos from many noteworthy athletes, there isn’t the sense that it’s celebrating the industry. At the same time, nobody really wants Space Jam: A New Legacy where basketball is referenced, but it’s far from the bigger point of its crass, cynical heart. There has to be a way to make it feel as natural as one would during any given basketball season.
I wouldn’t say that Hustle has the best or most original basketball story ever put to film, but it may be one of the most successful visions of the industry. This is made for people who make draft predictions, who believe those ridiculous rituals will throw a game. Hustle is made for people who see The Lakers vs. The Celtics and can get immediately heated over decades of rivalry. It isn’t just a sport, but a way of life. Every team has to have a star player, and many of the icons of yesteryear have moved into management positions. Without drawing attention to it, fans who know those faces from endless broadcasts will be rewarded with the mere presence of Luka Doncic or Matisse Thybulle, or laugh at the idea of a world where Inside the NBA exists without Kenny Smith (who stars as Leon). Even the fact that most of them do a halfway decent acting job – shoutout to The Minnesota Timberwolves’ Anthony Edwards as Bo’s rival Kermit – only highlights why this is something very special.
There are endless opportunities for this story to veer into needlessly saccharine lanes. It could easily be a lazy tribute to an industry that has a diverse roster to pull from, where Stanley stops and gives a Laugh-In style recognition. By making him part of the industry, many of the hokey acknowledgments are absent. In its place is a sense of camaraderie. There’s a legacy in every decision made. Even the sense of tying it into contemporary events of The 76’ers (should they trade Joel Embiid?) adds a sense of practicality that makes the excessive cameos necessary. In a world where everyone is meeting up for practices and sharing Instagram videos, there’s a connectedness that is impressive. Everyone is both a community and constantly battling for dominance. It’s a tough industry to stand out in and everybody has their part. Luckily Hustle respects and acknowledges them even when poking fun.
At the end of the day, this may not be the most exemplary Sandler film ever released. Anyone expecting revolutionary storytelling may be disappointed. However, there is a certain effort that needs to be made for something like this to work. It’s the type of story where the characters are the driving force, and thankfully Sandler’s chemistry with Hernangomez is enough to carry everything over the finish line. It has enough heartwarming bits and a satisfying ending to make this a worthwhile tribute to The NBA. Sometimes it’s fine for a franchise to be so nakedly in love with itself, and this is one of the best examples.
To the film’s credit, I think what works is ultimately one’s affection for individual players. As someone who admires Boban Marjenovic, I enjoy his early cameo because of his lovable personality amid an intimidating height. With that said, I’m casual enough of a fan to have not recognized everyone. The marker of success is if a reference can transcend simply being that. Does it add anything to the greater story? Given that it’s not out of line to imagine Doc Rivers giving a pep talk, a lot of it makes sense even if he’s somebody the viewer isn’t familiar with. It’s a celebration that is accessible and makes one feel like they’re there going through a season with Sandler and Hernangomez, doing everything they can to stand out. This is a story that could be about any player, and that’s part of the charm. Anyone could be found and made into a superstar. Bo Cruz may not be that by the end of the film, but his ascendancy is already in motion. This is Sandler’s greatest crowd-pleaser if there ever was one. It may not challenge too much about the cinematic playbook, but it does enough to keep one invested.
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