Amistad
3.5/4
Starring: Matthew McConaughey, Djimon Hounsou, Morgan Freeman, Anthony Hopkins, David Paymer, Nigel Hawthorne, Stellan Skarsgaard
Rated R for Some Scenes of Strong Brutal Violence and Related Nudity
"Amistad" is a traditional courtroom drama done well. The story is powerful, the performances are effective (and in one case, superb), and it does exactly what it sets out to do. Unfortunately, there's not much that's really special about it either. It doesn't go the extra mile.
In 1839, a slave ship called "La Amistad" was subject to a revolt by the Africans it was carrying toward slavery. Led by a man who was later called Cinque (Hounsou), the Africans succeeded in overtaking the ship, and demanded to be taken back to Africa. But they were tricked, and instead ended up off the coast of Long Island, where they were arrested and charged with murder. Two abolitionists, ex-slave Theodore Joadson (Freeman) and activist Lewis Tappan (Skarsgaard), take up their case. The lawyer they have is Roger Baldwin (McConaughey), a property lawyer. The film recounts their struggle for freedom all the way to the Supreme Court.
I suppose it's impossible to talk about "Amistad" without mentioning "Schindler's List." In his review of this film, James Berardinelli said, "'Amistad' is to 'The Lost World' as 'Schindler's List' is to 'Jurassic Park.'" In a strange way, it's at least an understandable comparison (although the comparison between the two dramas isn't as strong as the connection between the two dino monster movies). While the two films are more different than they are alike, they are hard-hitting yet inspirational dramas. In terms of quality, however, "Amistad" doesn't come close.
The film's flaws mainly have to do with the script. David Franzoni's (who would next write the overblown bore "Gladiator") script is, at best, serviceable, and at worst, shallow. Compare the lack of depth to what Steven Zaillian did with "Schindler's List," and you'll see my point. There isn't a single three-dimensional character in this film. They're all types. Well acted types, but still types.
Without a shadow of the doubt, Steven Spielberg is one of the smartest and hardest working filmmakers in Hollywood. But even he is not flawless (actually, he's been in a slump since "Indiana Jones and the Kingdom of the Crystal Skull"). He overestimates the strength of Franzoni's script, causing some of the big emotional moments that he is known for the come across as unnecessarily melodramatic and overblown.
The performances are, with one exception, solid. Matthew McConaughey has his weak moments, but he's an effective lead. Djimon Hounsou, who learned Mended for the role, is quite good as the imprisoned Cinque. Cinque is a man who is troubled and frightened, but will do what he has to in order to get home. Some of the film's limited comic relief comes from his observations of the other characters. Morgan Freeman and Stellan Skarsgaard are more or less wasted (Skarsgaard disappears from the second half of the film with no explanation), but then again, they're always welcome on screen.
The exception I mentioned is Anthony Hopkins, whose portrayal of the frail but firey John Quincy Adams is absolutely riveting. Hopkins is unrecognizable in the role (much credit must go to the makeup department), playing him as a man whose body is failing him but his mind is as perceptive as ever. His final speech, which takes up about ten minutes, is stunning.
Steven Spielberg knows what he is doing behind a camera. Anyone who doubts that has not seen enough of his movies. He's a master storyteller, and for all its flaws, this is a good film.
Starring: Matthew McConaughey, Djimon Hounsou, Morgan Freeman, Anthony Hopkins, David Paymer, Nigel Hawthorne, Stellan Skarsgaard
Rated R for Some Scenes of Strong Brutal Violence and Related Nudity
"Amistad" is a traditional courtroom drama done well. The story is powerful, the performances are effective (and in one case, superb), and it does exactly what it sets out to do. Unfortunately, there's not much that's really special about it either. It doesn't go the extra mile.
In 1839, a slave ship called "La Amistad" was subject to a revolt by the Africans it was carrying toward slavery. Led by a man who was later called Cinque (Hounsou), the Africans succeeded in overtaking the ship, and demanded to be taken back to Africa. But they were tricked, and instead ended up off the coast of Long Island, where they were arrested and charged with murder. Two abolitionists, ex-slave Theodore Joadson (Freeman) and activist Lewis Tappan (Skarsgaard), take up their case. The lawyer they have is Roger Baldwin (McConaughey), a property lawyer. The film recounts their struggle for freedom all the way to the Supreme Court.
I suppose it's impossible to talk about "Amistad" without mentioning "Schindler's List." In his review of this film, James Berardinelli said, "'Amistad' is to 'The Lost World' as 'Schindler's List' is to 'Jurassic Park.'" In a strange way, it's at least an understandable comparison (although the comparison between the two dramas isn't as strong as the connection between the two dino monster movies). While the two films are more different than they are alike, they are hard-hitting yet inspirational dramas. In terms of quality, however, "Amistad" doesn't come close.
The film's flaws mainly have to do with the script. David Franzoni's (who would next write the overblown bore "Gladiator") script is, at best, serviceable, and at worst, shallow. Compare the lack of depth to what Steven Zaillian did with "Schindler's List," and you'll see my point. There isn't a single three-dimensional character in this film. They're all types. Well acted types, but still types.
Without a shadow of the doubt, Steven Spielberg is one of the smartest and hardest working filmmakers in Hollywood. But even he is not flawless (actually, he's been in a slump since "Indiana Jones and the Kingdom of the Crystal Skull"). He overestimates the strength of Franzoni's script, causing some of the big emotional moments that he is known for the come across as unnecessarily melodramatic and overblown.
The performances are, with one exception, solid. Matthew McConaughey has his weak moments, but he's an effective lead. Djimon Hounsou, who learned Mended for the role, is quite good as the imprisoned Cinque. Cinque is a man who is troubled and frightened, but will do what he has to in order to get home. Some of the film's limited comic relief comes from his observations of the other characters. Morgan Freeman and Stellan Skarsgaard are more or less wasted (Skarsgaard disappears from the second half of the film with no explanation), but then again, they're always welcome on screen.
The exception I mentioned is Anthony Hopkins, whose portrayal of the frail but firey John Quincy Adams is absolutely riveting. Hopkins is unrecognizable in the role (much credit must go to the makeup department), playing him as a man whose body is failing him but his mind is as perceptive as ever. His final speech, which takes up about ten minutes, is stunning.
Steven Spielberg knows what he is doing behind a camera. Anyone who doubts that has not seen enough of his movies. He's a master storyteller, and for all its flaws, this is a good film.
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