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Date: 10/18/2022
New to Theaters: “Amsterdam”
When two friends and war veterans are accused of murdering a high-profile socialite, the duo reunites with a long-long lost acquaintance from their war days to solve the case in “Amsterdam.” The latest from Oscar-nominated auteur David O. Russell attempts an intriguing blend of screwball farce and character-building amidst a climate of conflict in the late 1930s.
Russell’s return to the camera after 2015’s “Joy” also comes with a painful reminder of the years of abuse allegations following the Hollywood talent’s trail (some he’s admitted to, while others were caught on video). It’s always a necessary ethical debate on the relationship between a troubling yet talented artist and their creative mediums, but interested viewers likely won’t have to endure that talk here. “Amsterdam” is a highly dysfunctional and contrived farce stuck in a constant state of flatlining.
Few movies appear quite as fragmented in their opening frames as “Amsterdam.” From the onset, Russell attempts an intriguing genre fusion in his marriage of comedy and underlying tragedy occurring between our central trio. However, the modern filmmaker possesses little understanding of old-school sensibilities. His screenplay modulates between moments of overwritten banter and clunky characterization that rarely feels genuine.
There’s underlying promise in what “Amsterdam” wants to say about its three characters, each disenfranchised by the world around them, who take arms against callous social elites – but the final product offers little in terms of nuanced ideas. The film instead portrays an uninteresting mystery that rarely picks up momentum before reaching its floundering conclusion.
Russell’s direction feels similarly listless. His trademark techniques, like intimate framing choices and free-flowing camera movements, never radiate the same emotional impact as his previous work. Instead, the director feels like he’s grasping at straws throughout, with his busy energy behind the camera struggling to articulate purpose. His handling of dissident tonal sensibilities also never quite connects as neither the farcical comedy nor evolving drama display deft execution choices.
Perhaps the only thing more baffling than “Amsterdam” itself is the star-studded cast Russell assembled here. Christian Bale, John David Washington, Margot Robie, Rami Malek, Anya Taylor-Joy, Chris Rock, Michael Shannon, Zoe Saldana, Robert DeNiro and even Taylor Swift lend their talents to this star-studded romp (hip-hop artists Drake and Future also produced the film). Aside from the eccentric charisma of Bale’s central character, the performances range from being underutilized to flat-out bizarre. I don’t know why this cast would want to sign up for an underbaked project, let alone one that’s guided along by a man with a history of problematic behavior.
“Amsterdam” is just as ugly and devoid of appeal as the person shepherding this wayward project. Hopefully, this will be the last time a studio and talented cast waste their time with Russell.
New to streaming: “The Greatest Beer Run Ever” on Apple+
Happy-go-lucky patriot Chickie Donohue decides to support his friends fighting in the Vietnam War by hand-delivering beers on the battlefield. Chickie’s bizarre odyssey soon becomes a life-altering experience in “The Greatest Beer Run Ever.”
A so-crazy-it’s-true story seems like a fitting avenue for writer/director Peter Farrelly to expand his cinematic oeuvre. Farrelly made a name for himself in the ’90s with crass comedies like “Dumb and Dumber” and “There’s Something About Mary” before striking Oscar gold with “Green Book” in 2018. The feel-good, albeit manipulative and highly controversial, dramedy showcased a more reflective side of Farrelly’s crowd-pleasing sensibilities. I didn’t jive with “Green Book’s” simplistic and self-satisfied perspective on racial discord. Still, I can’t help my fascination with the auteur’s sudden image change.
Unfortunately, Farrelly and his creative team strike out again with “The Greatest Beer Run Ever.” The spirited comedy/war drama clumsily weaves through complex and exceedingly relevant issues without a well-defined perspective.
I would at least call “Beer Run” a step in the right direction for Farrelly. His screenplay, co-written by Pete Jones and Brian Hayes Currie, presents a deft pulse on what Chickie’s story should represent. The real-life figure’s existence as a patronizing patriot whose understanding of service comes from an uneventful army stint in Massachusetts acts as an embracive upfront to parties condemning the Vietnam War’s purpose.
Chickie’s cocksure facade and undying nationalism quickly erode as he makes dizzying discoveries throughout his Vietnam trek. Meditations on the historic war’s questionable politics and the spectrum of objective, critical and propaganda-based perspectives shaping its media image are worthwhile and exceedingly relevant to today’s media-driven conditions. Yet, like any war film, “Beer Run” makes its most pronounced statement by reflecting on war’s brutal conflicts and the lingering damage left in its wake.
This sounds profoundly impactful on paper, but “Beer Run’s” execution only presents flat sentiments on tap. Farrelly and his old-school embrace of sentimental, studio-friendly filmmaking choices lack cohesion with the material’s vital undercurrent. Glimmers where the director tries to depict inhumane realities are frequently undercut by over-dramatized framing choices and tired inclusions of pop confectionery tracks from the era.
Visually, the film also adopts a pristine, studio-approved sheen that contrasts its harsher undertones. The assortment of heavy-handed aesthetics strains “Beer Run’s” well-intended sentiments until they reach a state of maudlin theatrics. I can’t say Farrelly’s trademark comedic touches are a welcomed inclusion either, as the film often misses the boat on its tonal-hybrid design.
Farrelly’s unsuccessful filmmaking approach extends to his screenplay. The trio of screenwriters fumbles viable insights by not adding much to the conversation. As a result, every theme of the movie lacks definition, with their undefined states ultimately serving as a reminder of the far superior war films “Beer Run” aspires to be. The lack of depth also limits the film’s dive into Chickie’s persona. Star Zac Efron deserves praise for injecting a sense of reflection and vulnerability into the character’s odyssey into war-torn realities. I would consider it one of the actor’s finest performances to date, although his skills can’t compensate for the film’s streamlined depiction of Chickie’s evolution.
A character describes Chickie’s journey as an “idiotic but noble gesture.” Unfortunately, I can’t help feeling the same about “The Greatest Beer Run Ever.” Despite well-meaning intentions, the film’s shallow and inert execution fails to honor its overlooked slice of history.