Amistad

Name: Amistad
Genre: Drama, History, Mystery
Released: December 10, 1997
Duration: 155 min
Rating: 63
Cast: Anthony Hopkins, Djimon Hounsou, Matthew McConaughey, Morgan Freeman

1997

METASCORE

Generally favorable reviews based on 23 Critic Reviews

See All

USER SCORE

Generally favorable reviews based on 79 Ratings

See All

7.3

VOTE NOW

0 1 2 3 4 5 6 7 8 9 10

7.3	Your Score
7.3	User Score Generally favorable reviews based on 79 Ratings

Would you like to write a review?

There is a 75 character minimum for reviews. If your review contains spoilers, please check the Spoiler box. Please do not use ALL CAPS. There is no linking or other HTML allowed. Your review may be edited for content. 0/5000

Check box if your review contains spoilers

Play Sound

Please enter your birth date to watch this video:

You are not allowed to view this material at this time.

Amistad

Now Playing: Amistad

Movie Details & Credits

DreamWorks Distribution | Release Date: December 10, 1997 | TV-MA

Starring: Anthony Hopkins, Djimon Hounsou, Matthew McConaughey, Morgan Freeman

Summary: Based on a true story, a group of enslaved Africans aboard the slaveship La Amistad overtake the ship and attempt to return to their homeland. When the ship is seized, the captives are brought to the United States where an enthralling courtroom battle ensues that captures the attention of the entire nation while confronting the veryBased on a true story, a group of enslaved Africans aboard the slaveship La Amistad overtake the ship and attempt to return to their homeland. When the ship is seized, the captives are brought to the United States where an enthralling courtroom battle ensues that captures the attention of the entire nation while confronting the very foundation of the American justice system. (DreamWorks)… Expand

Director: Steven Spielberg

Genre(s): Drama, History, Mystery

Rating: TV-MA

Runtime: 155 min

See All Details and Credits

Watch Now

Stream On

Buy on

Stream On

Expand

Metascore

Positive:

Mixed:

Negative:

Critic Reviews

100

Christopher Hemblade

Spielberg has mounted a courtroom drama to rival the finest Grisham, with a coruscating civil rights debate resonating both within the film and into the present as the audience knows it. Read full review

James Berardinelli

Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact. Read full review

Michael Sauter

Becomes a too-stately courtroom drama, with the Africans in the dock, the issue of slavery on trial at didactic length, and the top-billed Morgan Freeman as an abolitionist shunted to the sidelines with too little to do. [26 Jun 1998, p. 130]

Russell Smith

Cinque, the rebel leader, is played by former model Hounsou, a mountainous figure who speaks in a gutteral roar and seems to embody the rage and confusion of an entire exploited continent. Read full review

Barbara Shulgasser

Scenes go on and on in endless, witless dialogue, ever accompanied by John Williams' hideously gushing music. Read full review

Tom Meek

Of the underutilized mega cast, Djmon Honsou shines the brightest. His portrayal of Cinque, the leader of the displaced band of African tribesmen, is devastatingly potent. Read full review

Charles Taylor

A little like looking at pictures without a text to unify them… Prestige filmmaking bereft of inspiration -- sometimes even of the nuts and bolts of craft. Read full review

SEE ALL 23 REVIEWS

Write a Review

User Reviews

Habibiehakim

Jul 16, 2021

Amistad isn't as powerful as Spielberg Schindler's List, but in terms of is own story, Spielberg's is still making it very very well done and the movie is still fills with an amazing performance by all the cast and incredibly well written, Amistad might be not as powerful as Schindler's ListAmistad isn't as powerful as Spielberg Schindler's List, but in terms of is own story, Spielberg's is still making it very very well done and the movie is still fills with an amazing performance by all the cast and incredibly well written, Amistad might be not as powerful as Schindler's List but at least is way better than his terrible Jurassic Park sequel which was released on the same year too, The Lost World.… Expand

0 of 0 users found this helpful00

FilipeNeto

Mar 4, 2018

This film, based on real events, tells the dramatic story of the slaves of the ship "La Amistad", who are imprisoned in the United States after taking control of the ship and subjugate its Spanish crew. Directed by Steven Spielberg, with a screenplay by David Franzoni, the film has theThis film, based on real events, tells the dramatic story of the slaves of the ship "La Amistad", who are imprisoned in the United States after taking control of the ship and subjugate its Spanish crew. Directed by Steven Spielberg, with a screenplay by David Franzoni, the film has the participation of Djimon Hounsou, Matthew McConaughey, Anthony Hopkins and Morgan Freeman. It was nominated for four Oscars (Best Cinematography, Best Costume Design, Best Supporting Actor, Best Original Score).

The film is an excellent way to convey knowledge to people, especially if they don't like to read or study. In this context, historical films gain special importance. History is the guardian of the collective memory of people (as a nation or as a human race). Most people have difficulty to understand it. And I say this because this film addresses a troublesome page of our universal history: slavery and the slave trade, which at the time was considered normal, but we now recognize that it was cruel and wrong.

The film's screenplay is excellent, no mistakes or holes. The public is able to perfectly understand the feelings and motivations of the characters, and how the problem of those slaves is handled by each of them, until turn into a diplomatic problem and a national controversy. The only thing I was not able to realize is the reason of a Portuguese slave ship in the plot, if Portugal had been one of the first countries in the world to legally abolish slave trade. If they acted illegally to English, they were also breaking Portuguese law of the time. The work of actors was also impeccable. Djimon Hounsou shone in the role of Cinque, surprising the audience with the depth of his character. Hopkins, in a relatively low profile, could be up to the challenge, as Morgan Freeman; but it was Matthew McConaughey who most impressed the film with a huge performance, full of quality.

The sets and costumes fully correspond to what one would see and wear in the historical period depicted. The technical team did everything they could to get the necessary historical accuracy. Although not an action film, the film contains strong fight scenes and some visual and sound effects very well done.… Expand

0 of 0 users found this helpful00

JPK

Jul 8, 2019

Another Great History Film
I saw this in 9th Grade and it was definitely a very well done film.

0 of 0 users found this helpful00

FilmClub

Mar 27, 2016

The forces of power, racism and justice momentously clash in Steven Spielberg's epic drama "Amistad," an artistically solid, if not always dramatically exciting, chronicle of the 1839 rebellion on board the Spanish slave ship of the title. True story is presented as an international intrigueThe forces of power, racism and justice momentously clash in Steven Spielberg's epic drama "Amistad," an artistically solid, if not always dramatically exciting, chronicle of the 1839 rebellion on board the Spanish slave ship of the title. True story is presented as an international intrigue of a high order.

Boasting a high-voltage cast, led by Brits Anthony Hopkins and Nigel Hawthorne, Americans Morgan Freeman and Matthew McConaughey, and, most impressively, West African Djimon Hounsou as the rebels’ leader, this second release from DreamWorks should sail safely as a message film that touches on the very fabric of the American social system.

Spielberg’s second foray into African-American history is far more effective and moving than “The Color Purple,” his compromised, sanitized rendition of Alice Walker’s novel. Thematically, the new film is a logical endeavor following “Schindler’s List,” though stylistically the two films are very different. Aiming to instruct as well as entertain — and often struggling to reconcile these two divergent goals — “Amistad” lacks the subtlety of tone and the simplicity of form that made the 1993 Oscar-winning film so special in Spielberg’s oeuvre.

The director strives a tad too hard to emphasize the universal elements of the 19th-century case of injustice, using a deliberate visual style that accentuates (and often inflates) every single idea and image. Spielberg skeptics will find ammunition to criticize “Amistad” as too solemnly earnest and too bombastic in its visual strategy.

In a powerful pre-credits sequence that evidences a conspicuously bold touch, Spielberg shows how Sengbe Pieh (called Cinque by the Spaniards) begins the rebellion when he breaks free of his shackles. This violent scene (partly responsible for pic’s R rating) depicts graphically with mega-closeups and rapid montage the impalement of an officer on a sword.

From this point on, David Franzoni’s multifaceted script relates the saga from the perspective of its central victim, a once free rice farmer who suddenly found himself a chained slave. With Cinque (Hounsou), the filmmakers provide the audience a most sympathetic figure — and an emotional hook — to absorb the sprawling drama as it hops from one continent to another.

After the rebels are caught and thrown into a New England prison, story switches to Theodore Joadson (Freeman), a former slave who has joined forces with a businessman called Tappan (Stellan Skarsgard) in the Abolitionist cause. When the Amistad incident breaks, the American press labels it “a massacre at sea,” but Joadson perceives the Africans as freedom fighters. Attempting to enlist a decent attorney, he ends up with Baldwin (McConaughey), a shady property lawyer nicknamed “Dung Scrapper.”

For Baldwin, the case represents a property, not a human rights, issue. Indeed, in the trial, positioned against Holabird (Pete Postlethwaite), the nasty government prosecutor, Baldwin tries desperately to prove that the Africans were not legally slaves, that they were “stolen goods” because they were born in Africa and illegally kidnapped from their homes.

The case goes to the Supreme Court, where the Africans are defended by none other than John Quincy Adams (Hopkins), the former president and son of founding father John Adams.

Though there are a number of trials, Spielberg shrewdly avoids the routine format of courtroom drama, instead seamlessly integrating the numerous characters and their particular stands on the case. Yet every once in a while one senses an inner tension between Spielberg the mass entertainer, with his assured command of facile camera and trademark pyrotechnics, and the genuine artist, pressing for the simple core of the drama.

Occasionally, the film succumbs to the level of an anthropological survey, viewing the Africans and their rituals as exotic curiosity, though Hounsou’s dignified portrayal of Cinque as a man of outer strength and inner peace successfully counters this weakness. Regrettably, the always brilliant Freeman is totally wasted as Joadson, functioning as no more than a link among the various episodes, a possible result of the fact that his fictional character is a composite of several historical figures.

Cast against type, with shabby beard and big glasses to deglamorize his natural handsomeness, McConaughey renders a passable performance, failing to grab the opportunities of his substantial role. Playing a man older than his age, Hopkins shines throughout, and once he takes center stage he ignites the screen with a bravura 11-minute argument that results in the freeing of the slaves and crushing the notorious Lomboka Slave Fortress.

Filmed in various locations in New England and Puerto Rico, technically “Amistad” is an aural and visual pleasure, due to John Williams’ emotional score, Janusz Kaminski’s vibrant lensing, Rick Carter’s accurate production design and Ruth Carter’s verified costumes, all contributing to an authentic experience.… Expand

0 of 0 users found this helpful00

Spangle

Aug 14, 2016

Amistad is a masterfully crafted from the master of historical films, Steven Spielberg. With lavish costume design and a huge scope, Amistad is a mournful and moving look at one of the major battles before the Civil War came to be. The film's entire cast, especially Djimon Hounsou, do aAmistad is a masterfully crafted from the master of historical films, Steven Spielberg. With lavish costume design and a huge scope, Amistad is a mournful and moving look at one of the major battles before the Civil War came to be. The film's entire cast, especially Djimon Hounsou, do a terrific job here. Spielberg also does a great job himself (obviously) at keeping us focused on what truly matters here: the human element. The violence and even the essence of slavery and the court case take a backseat to exploring who these people are and why it matters who they are. Once we understand that, only then can we move into examining the impact of this case on history and the country. That said, Amistad is a bit of a slag at times. Though beautifully crafted with a good score from John Williams, it moves very slowly at times and as noticeably bad pacing. Essentially, it uses its runtime quite poorly and is excessive in length. It could have cut some time off and still have been just as impactful. That said, Amistad is a good film from Spielberg, even if it suffers from pacing issues.… Expand

0 of 0 users found this helpful00

MovieMasterEddy

Apr 3, 2016

The forces of power, racism and justice momentously clash in Steven Spielberg's epic drama "Amistad," an artistically solid, if not always dramatically exciting, chronicle of the 1839 rebellion on board the Spanish slave ship of the title. True story is presented as an international intrigueThe forces of power, racism and justice momentously clash in Steven Spielberg's epic drama "Amistad," an artistically solid, if not always dramatically exciting, chronicle of the 1839 rebellion on board the Spanish slave ship of the title. True story is presented as an international intrigue of a high order.

Boasting a high-voltage cast, led by Brits Anthony Hopkins and Nigel Hawthorne, Americans Morgan Freeman and Matthew McConaughey, and, most impressively, West African Djimon Hounsou as the rebels’ leader, this second release from DreamWorks should sail safely as a message film that touches on the very fabric of the American social system.

Spielberg’s second foray into African-American history is far more effective and moving than “The Color Purple,” his compromised, sanitized rendition of Alice Walker’s novel. Thematically, the new film is a logical endeavor following “Schindler’s List,” though stylistically the two films are very different. Aiming to instruct as well as entertain — and often struggling to reconcile these two divergent goals — “Amistad” lacks the subtlety of tone and the simplicity of form that made the 1993 Oscar-winning film so special in Spielberg’s oeuvre.

The director strives a tad too hard to emphasize the universal elements of the 19th-century case of injustice, using a deliberate visual style that accentuates (and often inflates) every single idea and image. Spielberg skeptics will find ammunition to criticize “Amistad” as too solemnly earnest and too bombastic in its visual strategy.

In a powerful pre-credits sequence that evidences a conspicuously bold touch, Spielberg shows how Sengbe Pieh (called Cinque by the Spaniards) begins the rebellion when he breaks free of his shackles. This violent scene (partly responsible for pic’s R rating) depicts graphically with mega-closeups and rapid montage the impalement of an officer on a sword.

From this point on, David Franzoni’s multifaceted script relates the saga from the perspective of its central victim, a once free rice farmer who suddenly found himself a chained slave. With Cinque (Hounsou), the filmmakers provide the audience a most sympathetic figure — and an emotional hook — to absorb the sprawling drama as it hops from one continent to another.

After the rebels are caught and thrown into a New England prison, story switches to Theodore Joadson (Freeman), a former slave who has joined forces with a businessman called Tappan (Stellan Skarsgard) in the Abolitionist cause. When the Amistad incident breaks, the American press labels it “a massacre at sea,” but Joadson perceives the Africans as freedom fighters. Attempting to enlist a decent attorney, he ends up with Baldwin (McConaughey), a shady property lawyer nicknamed “Dung Scrapper.”

For Baldwin, the case represents a property, not a human rights, issue. Indeed, in the trial, positioned against Holabird (Pete Postlethwaite), the nasty government prosecutor, Baldwin tries desperately to prove that the Africans were not legally slaves, that they were “stolen goods” because they were born in Africa and illegally kidnapped from their homes.

The case goes to the Supreme Court, where the Africans are defended by none other than John Quincy Adams (Hopkins), the former president and son of founding father John Adams.

Though there are a number of trials, Spielberg shrewdly avoids the routine format of courtroom drama, instead seamlessly integrating the numerous characters and their particular stands on the case. Yet every once in a while one senses an inner tension between Spielberg the mass entertainer, with his assured command of facile camera and trademark pyrotechnics, and the genuine artist, pressing for the simple core of the drama.

Occasionally, the film succumbs to the level of an anthropological survey, viewing the Africans and their rituals as exotic curiosity, though Hounsou’s dignified portrayal of Cinque as a man of outer strength and inner peace successfully counters this weakness. Regrettably, the always brilliant Freeman is totally wasted as Joadson, functioning as no more than a link among the various episodes, a possible result of the fact that his fictional character is a composite of several historical figures.

Cast against type, with shabby beard and big glasses to deglamorize his natural handsomeness, McConaughey renders a passable performance, failing to grab the opportunities of his substantial role. Playing a man older than his age, Hopkins shines throughout, and once he takes center stage he ignites the screen with a bravura 11-minute argument that results in the freeing of the slaves and crushing the notorious Lomboka Slave Fortress.

“Amistad” is an aural and visual pleasure, due to John Williams’ emotional score, Janusz Kaminski’s vibrant lensing, Rick Carter’s accurate production design and Ruth Carter’s verified costumes, all contributing to an authentic experience.… Expand

0 of 0 users found this helpful00

MikeW.

Dec 2, 2005

I think the flow of the movie was too choppy...It didn't appropriately depict the trajedy and hardship that the Africans were put through.

0 of 0 users found this helpful

SEE ALL 15 REVIEWS

59	#59 Best Movie of 1997
42	#42 Most Discussed Movie of 1997
17	#17 Most Shared Movie of 1997