AMSTERDAM (2022)

Written & Directed By: David O. Russell 
Cinematography: Emmanuel Lubezki
Editor: Jay Cassidy 

Cast: Christian Bale, Margot Robbie, John David Washington, Chris Rock, Zoe Saldana, Robert DeNiro, Rami Malek, Michael Shannon, Mike Myers, Timothy Olyphant, Anya Taylor Joy, Alessandro Nivola, Andrea Riseborough, Matthias Schoenaerts, Taylor Swift, Max Perlich, Ed Begley Jr, Colleen Camp 

In the 1930s, three friends witness a murder, are framed for it, and uncover one of the most outrageous plots in American history.


This film had so much promise, an all-star cast, and a period-piece comedy. Somehow it all went so wrong. 

As it is big everything about it is big, but limits the places it can go and at least acknowledges that people have other elements to their lives other than the main plot as a focus. 

Director David O. Russell always likes to keep his films somewhat unpredictable and lovely as the camerawork is usually styled yet fluid and there are so many characters floating around who play important roles. That you never quite know who is going to drop in and out. He seems to like organized chaos so that by the end that is when you really notice the style or the plan. As it comes to light.

He also usually gets actors to play parts in his films as the roles are usually off the wall or quirky enough. That it allows the actors more to play than to necessarily act.

When it comes to this film though everything seems off. Not in his usual way though. As the film wants to say something about modern society and politics. As well as race and class relations to a degree, but also wants to mix in comedic elements that feel slapstick yet the laughs never come and nor the comedy exactly.

Here half the minor roles are played by recognizable actors who you wonder why they are even in the film. Though one of those big names Taylor Swift provides the only noteworthy and truly funny jaw-dropping scene. That someone who is not a fan of hers might enjoy it a little too much. 

It doesn’t help that you have a love story among friends and colleagues. Yet no one has any chemistry and they say the lines so blankly that there is no emotion at all and no real reason to truly care about the characters. Even as the situations get zanier and a conspiracy forms. The film stays steady and slow. Where the only actor who seems like they could be interesting is Christian Bale who seems stranded in this movie. His romance with Zoe Saldana is cute and her character is short-changed. As this is the most appealing she has been on screen in quite some time. As the film seems desperate for his character to have a love story as it keeps shining a light on Washinton.s and Robie.s  

As even the film tries to paint a love triangle but it is more of a love story between the two and he is just close to them. If the film had incorporated more of the triangle of the two characters both in love with the woman or them all in love with one another. That would have kept the dynamic more interesting. 

The characters all seem like they deserve their own film. Even though they aren’t playing passionately. They have backstories that would certainly fit a better film or be better used in one.

By the end, this film is about a conspiracy and is played by a caper. Feels like it was much ado about nothing. By the end, only two characters falling in love is the only true change throughout. So that by the end you feel like you went through an endurance test. A well-meaning one but still a chore 

It’s focused as it wants to be a lot of things all at once. It wants to be angry but also soft. As it is paced at times like a screwball comedy but intended to stick and not just go by. It just feels very unfocused. Yet wants to include a lot of details

Grade: C-

FLIRTING WITH DISASTER (1996)

Written & Directed by: David O. Russell

Cinematography: Eric Alan Edwards

Editor: Christopher Tellefsen 

Cast: Ben Stiller, Patricia Arquette, Tea Leoni, Josh Brolin, Richard Jenkins, Mary Tyler Moore, Alan Alda, Lily Tomlin, George Segal, Celia Weston, David Patrick Kelly, Nadja Dajani 

Five months after the birth of his son, Mel Coplin remains unable to name the child until he has met his own biological parents and discovered who he “really is.” He, his wife Nancy, and his social-worker-in-training Tina Kalb jet off to California to meet his birth mother–who turns out not to be his mother, due to an error with the agency’s adoption records. The quartet sets out in search of Mel’s real parents, with tensions growing because of the sexual chemistry lacking between Mel and Nancy and growing between Mel and Tina.


This film is made in a classic screwball comedy type manner, but it feels more intellectual than these films. As it swings from out and out wacky comedy to more witty humor. So that it feels like a modern for that time Woody Allen movie. Only with his earlier anarchic spirit behind the camera.

The film often goes for shocks in it’s comedy but doesn’t feel blatant and ends up more subtle at times.

Each of the characters perfectly complements the ensemble as each of them appears fairly normal, but as we get to know then their dysfunctions or freaky side is revealed and they are so one of a kind many of them. Could have a whole film built around them.

Though the film is shot small and more like an independent film. Where at first we are in The cramped apartments of New York where it feels overwhelming and tight. As there are scenes that take place more indoors and feel closed off. Once they hit the open road it offers more abundance.

Though the way the camera keeps moving and shooting. It’s shots make it look like the camera like the performers are always exploring be it themselves, space, or boundaries. Which as a viewer excites you as you are never quite sure what will happen next and it keeps you laughing.

The timing And delivery of the jokes and performances as well as the direction are all on point.

The ensemble cast that would be seen as an all-star cast now. Seem more like they are improving like a jazz standard jam. Riffing off of one another and carrying the beat. Though while sure improv was involved it seems like the film was actually tightly scripted. Though when dialogue as said. It seems like it was thought up on the spot.

This is a comedy that delivers real surprises when you don’t expect them.

The strength behind the film is writer/director David O. Russell. He pulls the film together. Cinematically It’s impressive, script-wise it’s impressive and the performances he gets from his cast are amazing. As they go from serious to wacky in an instant. He usually can find laughs and comedy in situations that are not the usual places most would even go looking. Especially in dire depressing situations. Not only with this film but with films

Like his directorial debut SPANKING THE MONKEY (a rather depressing comedy about incest) I HEART HUCKABEES, THREE KINGS, AMERICAN HUSTLE, JOY, THE SILVER LININGS PLAYBOOK, and THE FIGHTER. He shows range, talent, and a certain composite. Where you can’t say there snot if his films are the same.

The casting in this movie is inspired as ben Stiller doesn’t seem as in control here nor are his reactions with his usual acting tics in this movie. This seems like one of the last times he would be this pristine performance. Though he usually plays this type of character.

Tea Leoni and Patricia Arquette get to show off their talents. Tea Leoni in a more offbeat styled character who was usually played at that time by Parker Posey. She really shows her chops in a role she rarely gets to do these days more the neurotic sex pot who dresses more like a femme fatale. Who always seems in control but might be just for appearances.

Patricia Arquette has an almost leading lady form and is that attractive girl next door quality as Stiller’s wife.

Mary Tyler Moore as his overbearing Jewish mother. Who likes to show how good her body still is in shape. She tries to steal the movie but is in her realm in a role that at first looks like stunt casting but actually works out well.

Josh Brolin being more comedic and open than usual as a gay/bi FBI agent who tags along on the ride.

This film is a treat I regret not seeing in theaters. As I tried but disappeared fast. Though luckily saw it as soon as it was available on home video. Though I will admit It was A film that had to grow on me. Like the first time, i saw it. I thought it was funny but not hilarious. As I watched it over the years it has won me over. As I began to notice the layers and construction of Jokes, scenes, shots, and characters. It’s an underrated film that needs to be revisited and Given more credit.

Definitely an addition to the home library.

Grade: B+

JOY (2015)

joy1Directed By: David O. Russell
Written By: David O. Russell & Annie Mumolo
Cinematography By: Linus Sandgren
Editor: Jay Cassidy, Sam Cross, Christopher Tellefsen & Alan Baumgarten 


Cast: Jennifer Lawrence, Bradley Cooper, Edgar Ramirez, Robert DeNiro, Virigina Madsen, Elizabeth Rohm, Diane Ladd, Isabella Rosellini, Dascha Polanco, Susan Lucci, Donna Mills, Melissa Rivers, Drena DeNiro 

*Please note that some trivia and facts have been republished from imdb among other sources In this review*

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