Even if it is based on true events, it's all just a bit to slapstick and fa-fetched for me. The story centres around "Berendsen" (Christian Bale) who is asked by his pal "Woodman" (John David Washington) to help out the widowed "Mrs. Meekins" (Taylor Swift) whose husband - a former American general - has mysteriously died. A slightly dodgy autopsy follows and pretty soon, someone has gone under the wheels of a car and our two gents are being sought by the police and by a clandestine organisation. Can they stay free and can we discover what is truly going on? Well David O. Russell decides to tell the story by chopping and changing the timelines, and so we retrace our steps to a WWI hospital where both men find themselves in the care of the slightly enigmatic nurse "Valerie" (Margot Robbie) who collects the shrapnel she takes from their wounded bodies and makes works of art from it. The three form an immutable bond before time and circumstances drive them apart, only for them to reunite unexpectedly as their current-day dilemma reaches it's denouement. The film looks great, certainly. The attention to detail, the costumes and the score all work well. It's the narrative, though, that really struggled for me. The story is just too insubstantial to sustain the 2¼ hour running time and as ever, I found Robbie a remarkably sterile actress to watch. Nobody could ever cause Bale of not trying, but there is a distinct lack of on-screen chemistry across the board here. None of that is helped by Rami Malek's rather underwhelming contribution as "Tom" - her wealthy if eccentric and clearly manipulating brother. Oddly enough, I found myself thinking this had something of the Agatha Christie to it - and maybe it would have worked better with a much tighter cast on a stage where the humour and quirkiness of the characterisations could have been better exploited? As it is, though, this sort of meanders back and forth with little impetus and I have to say I was a bit bored half way through.