The Sting (Special Edition)
If you know anything about movies, I probably donít need to tell you that The Sting is considered a classic, and as with all classics there is a reason that gives it such a status. Iím pretty sure I wonít spoil anything if I reveal that the movie is about a con... that seems like a given. In the past few years Iíve noticed con-movies popping up in theaters every now and then: youíve got your Oceanís Eleven and Twelve, Matchstick Men, and Catch Me If You Can... well, thatís four and I canít think of any more at the moment, but Iím sure there are more that could fit into this category (maybe the remake of The Italian Job?). Iím not saying these are bad movies, Iíve enjoyed most of them to a certain extent, but if I can predict the twist (sorry, Matchstick Men) or if the vital twist in the end comes out of nowhere and leaves the audience feeling cheated (*cough* Oceanís Eleven *cough*), it takes away from the entire experience of watching the film. Exactly that is the strong point of The Sting: it sets up plot twists early and manages to catch the audience off-guard with surprises that will make you feel a bit stupid for a moment, but not for long Ė itís like congratulating a worthy opponent on a well-earned victory. You donít feel cheated by the film because all the information you need to figure out the ending is really right in front of you, but it blends in with the rest of the film so well that you probably would never notice it.
The point Iím trying to make is that The Sting is what a movie about con-artists should be: entertaining, unpredictable, and charming. Hell, Paul Newman and Robert Redford are so charismatic and work so well together in this movie that they could probably con me, then tell me that theyíve conned me, and I still wouldnít be mad at them and would probably tell them to keep my money. Thatís something that Clooney and his comrades could never get me to say about them.