PREMISE
In the 1930s, three friends witness a murder, are framed for it and uncover one of the most outrageous plots in American history.
THE GOOD STUFF
WASHINGTON, ROBBIE, & BALE- Rather than praise their performances, I feel these three should collectively be given credit as the engine for which this movie runs. This film really is not a showcase for any one of their individual performances. Instead, screen time is spread evenly between the three, and it’s the smartest move this film makes. These three have incredible chemistry together, and that alone keeps this film from being even worse than it is.
The filmmaking– Amsterdam is gorgeous to look at in every single solitary frame. The cinematography is top-notch, and the costumes are as well. The makeup effects are very impressive, especially in the first act. One needs only to watch this movie for 20 minutes to understand that it was designed to get people Oscar nominations behind the camera. And it just might do that despite everything else that goes on.
THE BAD STUFF
PACING- All over the place. Some scenes go on for way too long that will be followed by scenes that are quickly paced. The first act is largely a flashback sequence that goes on for way too long and might not even be necessary. The main story is supposed to be 12 years after that flashback but outside Christian Bale’s character having a glass eye you might not even be able to tell that that’s even the case. Hypothetically, if you didn’t have to use the bathroom at all, and you spent the entire 2 hours and 15 minute run time at full attention, you still might have to ask somebody next to you what something means.
THE OVERALL STORY- Overstuffed and overwritten. I almost want to say this is somewhat falsely advertised. I can’t necessarily tell if the third act of this film is good or bad.
In the third act, you come to the conclusion that this is an overtly political film. Up until that point, there’s so much going on, and there are so many courses of direction that it’s very confusing to know that’s what it’s building up to.
ALL THE FAMOUS FOLKS- To me, one of the biggest mysteries in all of show business is how David O. Russell films have casts that are stacked to the gills with notable names (I heart huckabees, joy, American hustle) In almost every instance of this happening, it’s not necessarily distracting. Amsterdam is different.
This is one of the more stacked cast lists I’ve seen in quite some time, and most of the names (Chris rock, Rami Malek, Taylor Swift, Zoe Saldana, Timothy olyphant, Mike MYERS) have a limited amount of scenes that they’re in. The vast amount of screen time involves the main three characters, and it almost would have served the movie better if the characters played by all these famous people were just actors that we kind of weren’t that familiar with. I only say that because the amount of famous people popping up over and over again tends to get pretty distracting.
THE UGLY STUFF
Nothing really. Put something in this category truly means it’s irredeemable and absolute bull****. And believe it or not Amsterdam doesn’t have a single thing that qualifies to fit in this category.
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Ultimately, that’s the problem. There’s nothing irredeemable… It’s just a whole bunch of s*** that doesn’t work. It’s not a comedy, it’s not a thriller, it’s not some Agatha Christie-ish kind of a mystery. It’s selling itself as kind of a war film but it isn’t that either. What Amsterdam really is…is a film that’s trying to be all of these things at once under a 2 hour and 15 minute running time.. and failing at everything it tries to be.
It’s a Diet Pepsi Oliver Stone film. And that’s being kind.
AMSTERDAM is in theaters now
