Watch the worst movie of the year

The new movie “Amsterdam” has been shrouded in secrecy for months. Now we know why – it can’t be watched.

Several times during a Wednesday night press show for David O’s mega clunker. Russell, I thought of getting out. A major critic got up from his chair after 45 minutes, and never came back. Meet the luckiest man in the world!

But, no, I stayed for a drama that was as emotionally puzzling as it was amazingly boring and impossible to follow. That’s weird, because the movie, on paper, seems like a recipe for greatness.

movie review

Zero stars. Show duration: 134 minutes. Rated (brief violence and bloody images). In theaters October 7.

Its director and writer, Russell (Silver Linings Playbook, Fighter, American Hustle), is usually a skilled narrator. And he compiled a massive list of A-list stars: Christian Bell, Margot Robbie, John David Washington, Rami Malek, Robert De Niro, Chris Rock, Anya Taylor-Joy. . . Taylor Swift! The intriguing plot concerns a must-see and little-known piece of American history about a failed coup to overthrow the government and install a fascist dictator. salary.

Amsterdam has every imaginable advantage. Did not matter. It’s the worst movie of the year so far, and I’ll bow to everything that comes and goes.

Robert De Niro in Amsterdam
Robert De Niro isn’t terrible at ‘Amsterdam’ – he’s just being present.
Twentieth Century Studios
Starring Christian Bale, Margot Robbie and John David Washington
Christian Bale, Margot Robbie and John David Washington star in “Amsterdam,” the year’s worst film.
Mary Wesmiller Wallace; SMPSP

Floperoo began in New York City in 1933, where Bert (Bill), a World War I veterinarian, works as a doctor helping to repair soldiers wounded in battle. His best friend from the 369th Infantry Regiment, Harold (Washington), is a lawyer, and both are summoned, film noir-style, by Liz (Swift, who would have a hard time getting rid of this) to give her dead political father an autopsy on Bani. (Zoe Saldana plays a thankless role as a nurse who manipulates intestines.) Liz wants to get to the cause of his mysterious death.

Then Burt and Harold are arrested on a different murder investigation, and we’re back in France in 1918, where an eccentric nurse named Valerie (Margot Robbie), who collects bullets and shrapnel, helps the boys recover. The trio became friends and set off for Amsterdam; Valerie and Harold begin to row, and everyone dances and paints mysterious paintings.

All the while, we pick up on Russell’s troubling identity crisis. In the making of a multi-decade story about battlefields, history, and prosthetics, he directs Robert Zemeckis. in a bad manner. And by recruiting a Vanity Fair Oscar party celebrity to play an eccentric in a faded color scheme, he tries to be Wes Anderson. again bad. Her annoying arrogance reminds us so much Adam McKay “The Big Short” and “deputy”.

Rami Malek and Anya Taylor-Joy don't make as much of an impression as the rich win.
Rami Malek (left) and Anya Taylor-Joy (centre) don’t make as much of an impression as the rich win.
Courtesy of 20th Century Studios
Taylor Swift Amsterdam
Taylor Swift appears in this stink.
Twentieth Century Studios

Everything Russell admires is missing. where is he The heart of the standalone Playbook? Cruelty of a “fighter”? Softcore and fun “American Hustle”? hit me. The only adjective that can be found in “Amsterdam” is incompetence.

It’s not easy to trace the story back when we go back to the 1930s and meet CIA and MI-5 agents (Michael Shannon and Mike Myers), who have front-end jobs as glass salesmen and a passion for stuffed birds, or after the wealthy win arrives, played by Malik and Taylor Joy, two strangers. They are strong, evil, and boring.

De Niro is later introduced as a general who Burt wants to give a speech at his upcoming veterans’ party in Manhattan, while other forces want him to help in the uprising against the US government.

The plot wandered between 1918 and 1933.
The plot wandered between 1918 and 1933.
Merie Weismiller Wallace, SMPSP

Rock plays another vet named Milton who sometimes delivers sublime warnings against racism in his regular rhythm. Everyone on the screen tells jokes. Nobody in the theater laughs at them. We’re so busy trying to figure out what the hell is going on.

Suffice it to say that the most powerful Swiffer in the world couldn’t clean up this mess – nor did Swift, who is not an actress.

On the other hand, many of the actors she appears with, are usually excellent but perform like amateurs here. Bell raises the matter, while Washington recedes. Malik and Taylor Joy can’t resist their addiction to acting like Martians, and Robbie’s Harley Quinn gives us light. De Niro isn’t terrible – just being there.

Really, there’s nothing the cast of the script that Russell wrote for the hack job and the shapeless tone he suddenly prefers. Everyone speaks separately, as if they are reading from hint cards. The blanket, non-binding position should serve as an instruction. “Blander! Blander! Russell shouted.

It’s been seven years since director Joy’s last movie. Here’s hoping that when the next person comes along, they rediscover joy, humor, tension, structure, character development, dialogue, and. . .

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