Amsterdam (2022)

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.

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.

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.

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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.

Cremona finds the film uneven, praising its amusing moments and the friendship at its heart. The murder plot, by contrast, is muddled and overcomplicated.

The critic finds the film messy but buoyed by good vibes. They single out its outsized performances and goofy exuberance.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.