Directed By David O. Russell

Starring – Christian Bale, Margot Robbie, John David Washington

The Plot – In the 1930s, three friends (Bale, Robbie, Washington) witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.

Rated R for brief violence and bloody images

Amsterdam | Official Trailer | 20th Century Studios – YouTube

POSITIVES

In the seven years that have followed since the 2015 disappointment that was “Joy”, David O. Russell has answered back with his most visually and thematic ambitious film to date, and one that solidifies the feel of a Russell presentation that by this point is virtually unmistakable. Most evident are the alluring movements and framing devices of the movie’s eclectic cinematography, which here are supplanted by first time collaborator Emmanuel Lubezki, giving the visual storytelling a lucidly navigating appeal full of atmospheric revolving and inter-personal perspective that explores the many tonal transitions throughout many unique angles garnering something diverse to the experience. In addition, the lighting, while monotonous in its colorless expression, does articulately convey the essence of the early 20th century, with a dreary and weathered atmospheric ambiance that not only lends itself faithfully to the many beats of the evolving storytelling, but also one that works cohesively with the benefit of some exceptional production design that serves as the film’s only transformational quality. What the wardrobe lacks in flashiness, it more than makes up for in authenticity, combining enough three-piece suits, Edwardian dresses, and wartime uniforms to properly channel and tap into the influence of the movie’s timetable engagement. Likewise, the subtleties in computer-generated backdrops for scenery seamlessly materialize the automobiles and architecture of the Great Depression with the kind of three-dimensional influence that blends effortlessly to the rendering, but without the kind of commitment to budget for what is essentially just a series of establishing shots. It transcribes unrelenting reminder of the story’s vital time frame, but never in ways that override the significance of the storytelling, allowing its messages to further transcend the timelessness of their appeal, which feel as significantly influential now as they did in the film taking place ninety years before our current time. Those aspects include the terrifying nature of fascism, the cost and consequence of war, and especially the importance of love and friendship. The latter focus is when the film’s heart is beating the loudest, taking us through the dynamic of the trio of protagonists who grow with the kind of irreplaceable memories that bare a constant influence on the motivations of their respective movements, with a perfection for chemistry that feels every bit lived-in with banter as it does transcend of defining titles.

NEGATIVES

Unfortunately, while there is a compelling true story elicited somewhere in the distance of this torrentially tepid experience, it’s buried under a barrage of bad decisions that not only obscure the significance of the story, but also supplant for Russell what might very well be his most flawed film to date. This stems especially from the script, which is a convoluted and contrived series of heavy ideas that are continuously stacked in the hopes that something will eventually stick, but nothing with the kind of synergy to make this flow as one cohesive manner in the perils jaded storytelling. Because of such, it’s somehow overstuffed, but tragically undercooked, feeling like a first draft screenplay that is in vital need of another rewrite to even feel presentable to an adoring audience. This obviously leads to an internal disconnect with my interpretation to the narrative, but also an abundance of inconsistencies to the pacing that wore every minute of the 130-minute run time, with an overwhelming plaguing of boredom setting in that made this difficult to constantly remain committed. This sentiment is only further echoed by the spontaneity in tone that unfortunately never feels consistently settled, but even worse than that receives little justification for the volume of its continuous clash to begin with. When the script calls for dramatic, it’s met by the actors and direction with humor, and when it’s trying to intentionally be humorous, it is met with the kind of mindlessly ineffective gags that don’t push any reaction beyond a momentary chuckle, cementing a strange juxtaposition that like its script, tries to do too much with far too little. Finally, and most surprisingly, the collection of A-list actors rounding out the most expansively talented ensemble of 2022 isn’t responsible for a single solitary performance worthy of awards consideration between them. Some of the blame certainly lends itself to the confines of the script once more, leaving so little wiggle room of opportunity for them to properly express the depths of their respective characterizations. But for my money the bigger issue lends itself to the idea of the assortment in the first place, combining the familiarities of their celebrity with the emphasis in their introductions that obviously feel bigger than life, in turn forcing the audience to see them as nothing other than the actor who is playing the role, instead of vice versa. Thankfully, nobody is terrible in their portrayals, but it does outline the biggest concern with underwhelming films, where they throw as many big names as possible at the audience to off-set a problematic screenplay, except in the instance of “Amsterdam”, those fears are the realities of the entire laundry list of problems: excessive indulgence.

OVERALL
“Amsterdam” is an overlong and overstuffed vacuum that continuously sucks the humor, thrills and mystery of its plot right off of the map. With as many stars as a skyline galaxy, Russell’s latest should stand at the forefront of awards consideration, but as it disappointingly stands, this is one of the most unremarkable and disappointing experiences of the season, based entirely on the air of its limitless potential.

My Grade: 5/10 or D