---
title: "Amsterdam"
year: 2022
kind: "film"
canonical: "https://film.one/film/amsterdam"
fi1m_id: "amsterdam"
imdb_id: "tt10304142"
tmdb_id: 664469
wikidata_id: "Q104830968"
fi1m_score: 47
critics_score: 48
critics_reviews: 25
published: "2026-10-03T02:36:19.097575+00:00"
updated: "2026-10-03T02:36:19.623848+00:00"
region: "CA"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Amsterdam (2022)

Directed by David O. Russell · 2h 14m · Mystery, Comedy, Drama

## Identity

Amsterdam

- **Canonical:** https://film.one/film/amsterdam
- **Type:** Film
- **Fi1m ID:** amsterdam
- **IMDb ID:** tt10304142
- **TMDB ID:** 664469
- **Wikidata ID:** Q104830968
- **Same entity:** https://www.imdb.com/title/tt10304142/, https://www.themoviedb.org/movie/664469, https://www.wikidata.org/wiki/Q104830968

**Fi1m score: 47** · Critics 48 from 25 reviews

*In a sentence:* An excellent wardrobe for a conspiracy we stopped trying to follow

> *Amsterdam* has appealing friends and a conspiracy that keeps getting in their way. Christian Bale, Margot Robbie and John David Washington supply warmth, but the crowded plotting and uncertain comedy make this a frustrating evening.

## Synopsis

Burt Berendsen (Christian Bale), Valerie Voze (Margot Robbie) and Harold Woodman (John David Washington) share a friendship that becomes entangled with a murder mystery. Their time together in Amsterdam includes art, dancing and song, with spent bullets among the materials turned into artwork. Beyond that circle of friends, a conspiracy raises questions about political power. Detective Hiltz (Alessandro Nivola) and Detective Lem Getweiler (Matthias Schoenaerts) are also involved in the case, as the friends try to preserve their bond amid the demands of the investigation.

## Review

David O. Russell wants *Amsterdam* to be a murder mystery, a comedy about friendship and a warning about political power. It is fitfully amusing and handsomely made, but too muddled to recommend without a substantial tolerance for digression. The friends have enough warmth to make us want their company, and the conspiracy keeps requiring them to explain themselves. At 134 minutes, the film gives its complications more attention than its relationships. There is a better evening to be had simply watching the three leads spend time together.

Christian Bale plays Burt Berendsen with a comic restlessness that can be engaging even when the surrounding scene has lost its way. John David Washington’s Harold Woodman is a useful counterweight, holding back where his co-star keeps pushing. Margot Robbie’s Valerie Voze has enough comic assurance to suggest that the film might yet settle into an enjoyable rhythm. We like them together, although that affection has to survive a script forever adding another demand on our attention.

The Amsterdam passages show what gets squeezed out elsewhere. We were briefly moved by the friends’ shared pleasure in art, dancing and song, because they finally seem to have a life beyond the murder mystery. The artwork made from spent bullets is particularly affecting, allowing the damage behind these lives to remain visible without another speech. These scenes give the friendship something concrete to rest on, and the film could have trusted them for longer.

Judy Becker’s production design gives the period setting a convincing completeness. Emmanuel Lubezki’s cinematography makes the clothes and artwork worth inspecting, though the sheer attractiveness sometimes softens the sense of danger. The costumes by J.R. Hawbaker and Albert Wolsky also help distinguish the many personalities before anyone starts talking. We can enjoy looking at people even when we have lost track of why they are there. The trouble is how often the film leaves us doing precisely that.

Jay Cassidy’s editing does little to help us follow the investigation or to give the comedy room to settle. The dialogue keeps delivering information when we need a clean exchange between people, and the changes of tone become tiring rather than surprising. Daniel Pemberton’s score supplies welcome energy, but music cannot decide how seriously we should take a scene when the writing seems unsure. We grew impatient with the explanations, particularly when they interrupted the easier pleasure of the central trio.

A screwball mystery can be complicated without making the business of following it feel like unpaid work. Here, the political warning and the comic diversions repeatedly get in each other’s way, while the appeals for kindness arrive with too much insistence. David O. Russell’s screenplay means well, and its interest in friendship is plainly sincere. We would take that sincerity more seriously if the characters were allowed to demonstrate it without so much accompanying explanation.

The performances and the visual craft keep this from being a wholly dispiriting experience, but neither makes the investigation rewarding. Admirers of unruly ensemble comedy may find enough in the friendship and comic tangents to forgive the rest. For a murder mystery that makes us eager to follow the next clue, we would look elsewhere.

*Fi1m score 47, published 3 October 2026.*

## What the critics say

The consensus on Amsterdam leans negative, though praise repeatedly returns to the cast and period visual craft. The reviews find energy and occasional amusement in the performances, with Christian Bale’s eccentricity and John David Washington’s restraint drawing attention. Costumes, production design and cinematography also earn approval, even from critics unconvinced by the storytelling. Several find the central friendship, particularly during the Amsterdam interlude, more engaging than the surrounding murder mystery.

The main complaints concern an overcomplicated conspiracy plot, exhausting dialogue and awkward shifts between comedy and political seriousness. The spread is wide: some find enough warmth and wit to forgive the disorder, while the harshest reviews see talented performers wasted. The Evening Standard finds the mystery gripping and its politics unsettlingly relevant. Slant Magazine also dissents from the negative lean, valuing the intimate relationships and moments of art, dancing and song above the conspiracy.

## Straight answers

**Is Amsterdam worth watching?**

*Amsterdam* is too muddled for us to recommend, despite its appealing central trio and handsome visual craft; we score it 47/100. Admirers of unruly ensemble comedy may enjoy the warmth between Christian Bale, Margot Robbie and John David Washington, but the crowded conspiracy and constant explanations make the murder mystery a frustrating evening.

**How long is Amsterdam, and what is it rated?**

*Amsterdam* runs 2h 14m. It is a mystery and comedy film.

**Where can I watch Amsterdam in Canada?**

*Amsterdam* is streaming on Disney+ in Canada, and it is also available to rent from Amazon Prime Video from CA$4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Amsterdam, and is it suitable for children?**

*Amsterdam* has a UK 15 certificate, so it is not suitable for children under 15. It centres on a murder mystery and a political conspiracy, but we cannot give a precise account of its violence or frightening material from those premises alone; the certificate is the clearest guide for families and cautious viewers.

**How does Amsterdam compare to The Lady Vanishes?**

*Amsterdam* is the weaker choice beside [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes), which we recommend for a conspiracy comedy that keeps its clues and eccentric characters moving. Both have fussy plotting, but the railway mystery sustains tension and humour, while *Amsterdam* repeatedly interrupts its warm central friendship with explanations that make the investigation tiring to follow.

**What should I watch after Amsterdam?**

After *Amsterdam*, try [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes) (1938, Fi1m 88): For a conspiracy comedy that keeps its clues and eccentric passengers moving. Then [*The Conformist*](https://film.one/film/the-conformist) (1970, Fi1m 87): For period elegance serving a much sharper examination of political obedience; and [*The Death of Stalin*](https://film.one/film/the-death-of-stalin) (2017, Fi1m 83): For political plotting whose farce makes the danger harder to dismiss.

### Reviews we read (25)

- **Evening Standard**, Charlotte O'Sullivan (4/5): The critic finds the sprawling murder mystery gripping despite minor quibbles. She singles out Christian Bale’s performance, alongside the witty ensemble and the plot’s unsettling relevance. [Read](https://www.standard.co.uk/culture/film/amsterdam-movie-review-christian-bale-john-david-washington-margot-robbie-robert-de-niro-b1030392.html)
- **Slant Magazine**, Ryan Swen (3/4): Swen finds the film an earnest, sentimental picaresque whose conspiracy plot matters less than its human relationships. He especially praises the intimate friendship and the privileged moments of art, dancing, and song. [Read](https://www.slantmagazine.com/film/amsterdam-review-david-o-russell-christian-bale-margot-robbie/)
- **The AV Club**, Jordan Hoffman (B-): Hoffman finds the film entertaining but shambolic, with its ambitious political themes and tonal shifts ultimately falling short. He praises the energetic performances and terrific look, while criticizing the unwieldy conspiracy and uneven tone. [Read](https://www.avclub.com/amsterdam-review-christian-bale-margot-robbie-orussell-1849597622)
- **The New York Times** (64/100, inferred): The page could not be accessed, so the critic’s verdict is unavailable. No praise or criticism can be confirmed from the provided text. [Read](https://www.nytimes.com/2022/10/06/movies/amsterdam-review-christian-bale.html)
- **Screen Daily**, Tim Grierson (61/100, inferred): The accessible standfirst describes the film as an overstuffed period murder mystery. The review text is behind a paywall, so its fuller verdict and specific praise or complaints are unavailable. [Read](https://www.screendaily.com/reviews/amsterdam-review/5174708.article)
- **Radio Times**, Patrick Cremona (3/5): Cremona finds the film uneven, praising its amusing moments and the friendship at its heart. The murder plot, by contrast, is muddled and overcomplicated. [Read](https://www.radiotimes.com/movie-guide/b-43th00/amsterdam/)
- **Time Out**, Phil de Semlyen (3/5): The critic finds the film messy but buoyed by good vibes. They single out its outsized performances and goofy exuberance. [Read](https://www.timeout.com/movies/amsterdam-2022)
- **Total Film**, Jamie Graham (3/5): The critic finds Amsterdam a rocky, sometimes patience-testing ride that is ultimately worth taking. They praise its charismatic cast, sumptuous production design and rich cinematography. [Read](https://www.gamesradar.com/amsterdam-review/)
- **IndieWire**, David Ehrlich (C-): Ehrlich finds the film’s plea for kindness forced and hollow, with its frantic plotting and overstuffed dialogue undermining the story. He singles out the central trio’s bond as an undeniable spark, especially during the film’s brief Amsterdam interlude. [Read](https://www.indiewire.com/criticism/movies/amsterdam-review-david-o-russell-1234766602/)
- **Vulture**, Bilge Ebiri (50/100, inferred): Ebiri finds the film entertaining when its unpredictable comic energy is at its best, but says the freewheeling style becomes exhausting. He praises the cast’s spirited performances, especially the contrast between Christian Bale’s antics and John David Washington’s straight-man role. [Read](https://www.vulture.com/article/amsterdam-movie-review-intoxicating-exhausting.html)
- **The Guardian**, Peter Bradshaw (40/100, inferred): Bradshaw finds the film a starry, often amusing muddle whose heavy historical subject matter works against its screwball energy. He singles out John David Washington’s restrained performance as the strongest of the leads. [Read](https://www.theguardian.com/film/2022/sep/28/amsterdam-review-david-o-russell-john-david-washington-christian-bale-margot-robbie)
- **The Hollywood Reporter**, David Rooney (40/100, inferred): Rooney finds the film an entertaining but exhausting jumble whose storytelling takes too long to find focus. He praises Robert De Niro’s anchoring performance and the film’s polished visual craftsmanship. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/amsterdam-christian-bale-margot-robbie-david-o-russell-1235227331/)
- **Variety**, Peter Debruge (40/100, inferred): Debruge finds the overstuffed film less than the sum of its parts, though its anti-establishment message gives it wit and originality. He praises the period production design and the film’s political reminder about the Business Plot. [Read](https://variety.com/2022/film/reviews/amsterdam-review-david-o-russell-christian-bale-margot-robbie-1235384878/)
- **The New Yorker**, Anthony Lane (35/100, inferred): Lane finds the caper’s tone erratic and its comedy unsuccessful, though its milder moments work better. He singles out the art made from spent bullets and other materials as the film’s strongest feature. [Read](https://www.newyorker.com/magazine/2022/10/17/the-persuasive-potency-of-decision-to-leave)
- **Empire**, Ian Freer (30/100, inferred): Freer finds the film an intermittently enjoyable but tonally uneasy disappointment that never comes together. He praises its visual craft and score, while faulting its overcomplicated, poorly unified storytelling. [Read](https://www.empireonline.com/movies/reviews/amsterdam/)
- **Los Angeles Times**, Justin Chang (30/100, inferred): Chang finds the film messy and only fitfully successful, with its historical farce and political themes lacking sustained comic verve or conviction. He praises the central performances and the friendship’s brief, freewheeling Amsterdam interlude. [Read](https://www.latimes.com/entertainment-arts/movies/story/2022-10-05/amsterdam-review-bale-robbie-russell)
- **Sight and Sound**, BFI (15/100, inferred): The review finds the film smug, toothless and unsuccessful at recreating mid-century comedy. It particularly faults the film’s ahistorical treatment of American fascism and its unexamined corporate power. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/amsterdam-limp-self-congratulatory-affair)
- **NME** (75/100, inferred): The review finds the film hopeful and elegantly made, despite its crowded, star-heavy cast. It especially praises the costumes and the dreamy elegance of the film’s presentation. [Read](https://www.nme.com/reviews/film-reviews/amsterdam-review-cast-taylor-swift-christian-bale-margot-robbie-3324782)
- **Paste**, Aurora Amidon (6.7/10): Amidon finds the film’s plot confusing and its tonal shifts frustrating, concluding that its strong performances cannot rescue the story. She particularly praises Margot Robbie’s comic timing and magnetic screen presence. [Read](https://www.pastemagazine.com/movies/david-o-russell/amsterdam-review)
- **Den of Geek**, Don Kaye (2 out of 5): Kaye finds the film tedious and frequently disinterested, with its convoluted story and tonal shifts undermining its ambitions. He praises the cast’s ability to sustain interest, though he says the ensemble is often left to flounder. [Read](https://www.denofgeek.com/movies/amsterdam-review-christian-bale-cant-save-you/)
- **/Film**, Jeff Ewing (4/10): Ewing finds the film undercooked, tonally muddled, and less than the sum of its parts. He praises the cast’s performances and Lubezki’s cinematography, while criticizing the contrived plot and inconsistent tone. [Read](https://www.slashfilm.com/1037442/amsterdam-review-enjoyable-performances-cant-save-david-o-russells-undercooked-movie/)
- **Eye for Film**, Amber Wilkinson (35/100, inferred): Wilkinson finds the film an overcomplicated, laboured mess that never coheres into a satisfying whole. She praises its immaculate make-up, costuming and period cinematography, while noting the supporting cast’s amusing moments. [Read](https://www.eyeforfilm.co.uk/review/amsterdam-2022-film-review-by-amber-wilkinson)
- **Consequence**, Mary Siroky (30/100, inferred): Siroky finds the conspiracy tale hollow and underwhelming despite its star-studded cast. She faults the weak chemistry between Robbie and Washington and Valerie’s Manic Pixie Dream Girl characterization. [Read](https://consequence.net/2022/10/amsterdam-review-david-o-russell/)
- **Collider**, Chase Hutchinson (F): The critic calls the film a maddening, exhausting failure that wastes its cast. He particularly faults the haphazard editing, which makes its already weak dialogue scenes even harder to endure. [Read](https://collider.com/amsterdam-review-margot-robbie-david-o-russell-taylor-swift/)
- **The Wrap** (10/100, inferred): The critic finds the film a sloppy, dull misfire that wastes its talented cast. They single out Christian Bale’s oddball performance and his scenes with Zoe Saldana as occasional bright spots. [Read](https://www.thewrap.com/amsterdam-review-david-o-russell-christian-bale-margot-robbie-john-david-washington/)

## Details

- **Director:** David O. Russell
- **Director:** David O. Russell
- **Writer:** David O. Russell
- **Cinematography:** Emmanuel Lubezki
- **Editor:** Jay Cassidy
- **Music:** Daniel Pemberton
- **Production design:** Judy Becker
- **Costume design:** J.R. Hawbaker, Albert Wolsky
- **Producer:** Arnon Milchan, Anthony Katagas, Christian Bale
- **Cast:** Christian Bale as Burt Berendsen; Margot Robbie as Valerie Voze; John David Washington as Harold Woodman; Alessandro Nivola as Detective Hiltz; Andrea Riseborough as Beatrice Vandenheuvel; Anya Taylor-Joy as Libby Voze; Chris Rock as Milton King; Matthias Schoenaerts as Detective Lem Getweiler
- **Runtime:** 2h 14m
- **Release (Canada):** 7 October 2022
- **Genres:** Mystery, Comedy, Drama
- **Budget:** $80 million
- **Box office:** $31 million
- **Trailer:** https://www.youtube.com/watch?v=GLs2xxM0e78

## Where to watch in Canada

- Disney+: streaming, uhd
- Amazon Prime Video: rent CA$4.99, uhd
- Amazon Prime Video: buy CA$24.99, uhd

*Checked 2026-10-03.*

Also available in: AT, AU, BE, BR, CA, CL, CO, EE, ES, FI, FR, GB, IE, IT, JP, LT, MX, NL, NZ, PL, PT, SE, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Lady Vanishes* (1938), Fi1m 88: For a conspiracy comedy that keeps its clues and eccentric passengers moving. — [Fi1m page](https://film.one/film/the-lady-vanishes.md)
- *The Conformist* (1970), Fi1m 87: For period elegance serving a much sharper examination of political obedience. — [Fi1m page](https://film.one/film/the-conformist.md)
- *A Very Long Engagement* (2004): For wartime wounds, stubborn affection and a mystery with stronger emotional bearings.
- *The Nice Guys* (2016): For mismatched investigators whose comic detours make the conspiracy more enjoyable.
- *The Death of Stalin* (2017), Fi1m 83: For political plotting whose farce makes the danger harder to dismiss. — [Fi1m page](https://film.one/film/the-death-of-stalin.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/amsterdam