David O. Russell’s “Amsterdam”

Amsterdam (2022)

A Big Lebowski-style caper with Christian Bale’s Columbo-esque Burt standing in for The Dude in a story covering the rise of fascism that never quite feels weighty as it should while never ceasing to entertain

Set in 1933 with beautiful, flowing cinematography from Emmanuel Lubezki(Birdman, Tree of Life, Children of Men) and outstanding production design, the film in many ways shares traits of the screwball comedies of the 1940s while also echoing a certain brand of tempo and narration mastered by the Coen Brothers. On this level, it works wonderfully with terrific performances from the three leads as Burt(Christian Bale), Harold(John David Washington) and Valerie(Margot Robbie). Where it feels a little odd is the lack of weight in the fascist threat, but looking at it from the lens of the aforementioned 1940s screwball comedies, it works. The problem is that it’s 2022.

The pacing is a bit janky but returning to the central performances, they’re so engaging, particularly Bales’ character who seems to channel Peter Falk’s Columbo while being a doctor assigned in WWI to a black regiment in the stockade who refuse to serve under a Jim Crow sympathetic officer for whom he takes over. Immediately he makes a pact with Harold(John David Washington) for whom he quickly bonds.

In addition to the central characters, there’s a myriad of great supporting performances from a suprisingly effective Taylor Swift, Anya Taylor-Joy and Rami Malek as the most goggly-eyed couple ever, Mike Meyers and Michael Shannon as an odd duo to Zoe Saldaña, Chris Rock, and Robert Deniro.

Overall, it’s enjoyable if flawed.