IR Film Review: AMSTERDAM [20th Century Studios]
Making an original film with a period backing with unusual if not eccentric characters can either work gloriously or become hit-or-miss scenario depending on the beats the story takes. "Amsterdam", a new faux comedy from writer/director David O. Russell, is particular in many ways that always populate his films. However it depends on certain edge points. Some of his films walk the line well like "Three Kings" while something like "I Heart Huckabees" is a little too in left field to really connect. His casts, like always, are amazing...and this is the case here. The main three have a great set up in a doctor (Christian Bale), an attorney (John David Washington) and a nurse (Margot Robbie) who happens to come into the same orbit at the end of World War I and make a pact to watch over each other and be happy.
After she pulls alot of metal out of them from the battlefield, when the war is over they head to Amsterdam where they live what would be consider an artists' life. Robbie's character seemingly has money and is well connected to the point she has connections with some interesting intelligence gatherers (Mike Meyers & Michael Shannon in a great paring). The two aforementioned actors are great utilizing their talents witth Russell understanding to pull in Myers just enough and let Shannon go just a little farther. Say what people want about Russell's films but he conducts his actors brilliantly...it is just a matter how much the film stays on track without going off on character tangents.
There are some great supporting runs by Zoe Saldana and Andrea Riseborough but they are just wisps of a greater story (yet their characterizations are on point). Others like Timothy Olyphant, Alessandro Nivola and Matthias Schoenaerts are usually one and gone like wisps in the wind though they make their mark. Bale, of course, is running the show mostly with a play on Al Pacino mixed with Dustin Hoffman in a way. It is a very rare comedic performance that shows the man can do most of anything if he is focused. Robbie is luminescent as always but the role seems that it might have originally have gone to Jennifer Lawrence. John David Washington, after his focused and beautiful role in "Tenet", is effective but the character despite his efforts seems plain. Chris Rock, as an associate that works in his office, offers his verve but it is Rock in the 30s and not necessarily a character as much per se.
Rami Malek and Anya Taylor Joy plays a power couple associated with Robbie's character but again there is not much to their progression except some character turns that seem caricactured on purpose. This of course plays into the style of the film which is more farcical though the stakes are specific and parts of the story are based on real events. Robert De Niro rounds out the story as a general who figures mightily into the climax. As always Russell gets a nicely pitched (sardonic in ways) performance from De Niro that perfectly encapsulates the tone.
With all this going on and a bigger plot progression fueling the film, the movie feels schizophrenic but never boring. It is just all over the place with a budget to boot. The great thing is that Regency has always helped fund these films that have big ideas but need that financial support to get going (see "Fight Club"). This one is no exception and yet its target is not very clear in terms of audience. The ironic thing is that there are moments of brilliance when it shines and these are the points when you see the three mains cavorting in Amsterdam. They are happy and there is a sense of hope. There is joy to the proceedings in those fleeting images. The energy of those scenes are infectious but it never quite captures that magic again as the film rolicks to its conclusion. B-
By Tim Wassberg
