Metacritic-Rezensionen

Frye keeps the film within itself; he's found just the right scale and he sticks with it. As a result, Amos & Andrew is a very funny little film with big pleasures, and a most promising debut.

It portrays an unpleasant situation and then treats it with sitcom tactics. Either the humor should have been angrier and more hard-edged, or the filmmakers should have backed away from the situation altogether.

Unlike most comedies, the jokes succeed more often than they fail, except perhaps during the concluding fifteen minutes, when the movie runs out of gas.

Amos & Andrew is a better-than-average comedy that's likable enough while unfolding but evaporative when over.

Cage is the only actor allowed to do riffs on his assigned part, something he takes full advantage of; the others are stuck with their two-dimensional satirical profiles, which grow increasingly tiresome and unyielding as the comic plot predictably unfolds.

Two actors have wasted their considerable talents on this hapless comedy. With a flawed plot and far too few jokes, it's understandable why this isn't a particularly memorable film and just as well it's disappeared without trace.

Mr. Frye's initial conceits are good ones, but the film's humor somehow gets sopped up by the spongy writing and direction. The characters are fuzzily realized. The dialogue is lame and the continuity so shaky that one entire subplot sinks in confusion.

One thing's for sure about Amos & Andrew: It ain't no "Thelma & Louise."

A one-joke sketch that doesn't work as a feature, Castle Rock's Amos & Andrew raises the question: "How did this film ever get made?" Few audience members will sit through its entirety to ponder that issue.

Samuel L. Jackson, call your agent — and fire him.