“American Hustle” is a film that aches to be enjoyed. It has all the markings of a great movie – from the directing, to acting, to music, to cinematography; yet, when blending these elements into one substance, the color pales. It is, however, still a moderately enjoyable film, and is at least worth seeing for fans of director David O. Russell.

It is the year 1978. Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) are two con artists that regularly scam people into giving them money. Caught for their crimes by FBI agent Richie Di Maso (Bradley Cooper), they are given a bargain deal: if they help Richie make four arrests of high-level politicians, then they will be granted immunity. The first step is to catch the mayor of Camden, New Jersey (Jeremy Renner) accepting a bribe. One situation after another goes wrong after this, though, until it becomes dangerous to everyone involved. And it’s made even worse when Rosenfeld’s own wife Rosalyn (Jennifer Lawrence) disrupts their success.

The story of “American Hustle,” though, never appears to be the primary focus of the film. When looking back, it is the characters that are remembered. And Russell has created some of the most inspired characterizations of his career. There is the overweight, mobster-talking Rosenfeld; the sexy, manipulative, ambitious Prosser; the arrogant, curly-haired Di Maso; the good-hearted, naive Polito; and the seductive, child-like Rosalyn. These performances, especially that of Amy Adams and Jennifer Lawrence, are among the finest of the year. But although the intention of these portrayals was as caricatures of real people, at times they act so unbelievably that it is difficult to take the movie seriously.

The direction of “American Hustle” was most likely influenced by the films of Martin Scorsese, especially that of “Goodfellas.” A specific scene that comes to mind in “Goodfellas” is when Henry Hill is walking through a restaurant, greeting people along the way, and the camera follows along in his point of view. There are several similar moments in “American Hustle,” when a somewhat unlively scene is given a quick boost by a simple movement of the camera; whether it be a long sweep across the room to another character, or a quick flick down to a person’s hands before once again gazing back up at their face. The decision to give each character their own voiceover narration was also clearly influenced by Scorsese. When comparing the two films, though, it is “Goodfellas” that will be remembered. “American Hustle” may have its moments. But it lacks the charm and brilliance of Scorsese’s masterpiece.

There are some movies that would be empty without music, and “American Hustle” is one of them. As a film that takes places in the 70’s, this contains some wonderful songs that immediately transport you to that era, such as some from Electric Light Orchestra, America, and Wings. Several montages show conversations between characters while solely using music in the background, and it is these moments that make up for some of the more dull interactions.

When I first saw “American Hustle,” I decided that I enjoyed the experience, even to the point that I was raving about it. Over the next few days, though, the thrill seem to dissipate. I started to even forget what it was about; with the only images remaining being elaborate comb-overs and men with curlers in their hair. As a supposed comedy-drama, perhaps the film needed just a bit more humor. But the only times that I ever laughed were when Jennifer Lawrence entered the room, and this happened much less than I would have liked. I guess “overhyped” is the word I am looking for.