Studio: Sony Pictures Classics
Release Date: 2/10/2026
Rating: PG-13
Film Grade: B-
The Story: It’s the end of World War II and society faces a tough question – what to do with the remaining Nazi leadership? American Justice Robert Jackson envisions the unthinkable, a multinational tribunal that will hear charges against the perpetrators and render judgement. But that won’t be an easy task, as others would prefer to see a swift and definitive end. Shortly thereafter, Army psychiatrist Lt. Col. Douglas Kelly is assigned to interview and assess the mental state of the former leaders prior to their trial. What emerges is a battle of wits rather than weapons as the world awaits the verdicts.
My Take: The movie was written and directed by James Vanderbilt, based off of the book The Nazi and the Psychiatrist by author Jack El-Hai. Those expecting a heavy dose of courtroom drama will be disappointed. While there are courtroom scenes, the movie primarily revolves around the relationship between Kelly and the most infamous prisoner, Hermann Göring. The two play a game of intellectual cat and mouse with each trying to manipulate and outsmart the other. It leads to an odd sort of camaraderie as they probe each other’s personas for any possible insight that could lead to an advantage.
Along the way we also get to see how the prosecution’s plan unfolded, from concept to conclusion. There’s very little action, with conflicts handled through word and thought. While I’m sure much of this was covered in my history classes, the memories of those details have faded away over the intervening decades, with much of the plot coming as a surprise. The result was a thoroughly engaging movie that seemed to go by much faster than it’s almost two-and-a-half-hour runtime.
Bringing the script to life are Rami Malek and Russell Crow as Kelly and Göring. Malek is almost distracting at times, displaying his typical shift from devilish smirk to buggy eyes, and then a pouty pucker. Oddly enough, it works with the character given that Kelly has his own excentric side. And when his eyes are of normal size, they display the characteristics of an active thinker. He also has the help of working with Crow, who puts forth a remarkable display. Göring could have been played as a typical villain, but the role is much more complex. His self-inflated ego is balanced by a disquieting ability to charm those he takes interest in. One might think this adds some element of sympathy to the captive, but instead it illustrates how much guile can act as an aid to evil. It’s an unconventional approach but fittingly fits with Kelly’s ultimate thesis.
The rest of the large cast works well, with special mentions for Leo Woodall’s portrayal of real-life translator Sgt. Howie Triest who adds a very human element to the story, and Richard E. Grant as Sir David Maxewell-Fyfe. As usual, Grant disappears into the role, eventually emerging as his character has his chance to shine.
Now, for the big knock. This is a dramatized version of history, so some liberties have to be taken. The trials actually took close to a year, but that feels drastically condensed in the film. More dates could have been superimposed onto the establishing shots to help illustrate just how much work went into the prosecution. They’ve also combined some minor players into a single role or left some off screen. Those changes are understandable. But something dramatic happens in the third act, something that plays a significant role in the movie but never happened in real life. It’s unfortunate, since the events around the trial itself present more than enough drama, there’s absolutely no need to insert this plot element. While it has no material effect on the outcome it does cast an unnecessary and underserved aspersion on the character of one of the main characters in the story.
Visuals: The film was shot digitally and has a realistic look. Skin tones look natural and overall colors tend toward the drab and pale, fitting the themes of the movie. It has good contrast and details are clear despite the many dim scenes, such as in the dull and disgusting tan prison cells that are mostly lit with a yellowish cast.
To the film’s credit, the courtroom scene uses some of the actual archival footage that was shown during the trial. The effect is instantly powerful, adding credence to the story and removing any doubt that the film may have sympathies for Göring or his fellow commanders. This would be especially true for anyone that hasn’t been exposed to the images before (do they still show this in schools or is that a relic of the past?). There are a few other scenes that were recreated for the movie, filmed to look like they came from the period.
Of special note to those with adjustable aspect screens: The movie is presented in a 2.39:1 aspect ratio. Early on, there is some German dialog that isn’t subtitled. After watching the movie, I went back and reviewed the scene to see if they burned the translation in the black bars of the image, but they hadn’t. The dialog wasn’t important and they skipped translating it, so there’s no need to adjust your screen for anything other than 2.39:1.
Audio: The disc only sports a DTS HDMA 5.1 mix. If you want the Atmos version, you’ll have to spring for the digital version. That said, it is primarily a dialog-driven movie, while some of the men’s voices lean on the chesty side and Malek’s occasional mumbling, it’s predominantly clean and clear. There are a few instances where the other speakers are used effectively such as doors slamming and the courtroom rising.
The musical score by prolific composer Brian Tyler (Now You See Me series, Crazy Rich Asians, Avengers: Age of Ultron) ranges from subtle to pounding with drums and strings, with the organ playing a part in one early scene. Some of the more intense dialog sections are underscored with a low rumble, adding to the dramatic impact. Overall, it supplements the narrative rather than overpowering it.
Special Features: None, unfortunately.
Final Verdict: Those expecting a stodgy courtroom drama will be disappointed. While the trial is part of the story, it’s secondary to the evolving relationship between two men. In a way, the movie is reminiscent of such recent titles as
The Zone of Interest,
A Real Pain, and
One Life in that it focuses on people that weren’t in the direct spotlight (other than the obvious inclusion of Göring) and using them as a springboard for character studies. This doesn’t mean that they ignore the atrocities committed; those are important elements and not diminished or treated casually.
The movie gives us a character that seeks to understand the cause for man’s inhumanity to man and offers an idea that may be unsettling or unconvincing to viewers, giving it a provocative edge. I would have liked to see this more thoroughly explored, but the film doesn’t go that deep, leaving it for the audience to contemplate it on their own once the credits end.
The unnecessary alteration of the story may annoy history buffs, and it did lower my grade for the movie from the original B. If you like to watch two actors play off each other in a character study set against the deadliest war in history, this is well worth viewing. I can’t recommend this as a blind buy considering the obnoxious MSRP of $40.99, but it will be available on Netflix 3/7/2026, making it an easy recommendation for subscribers. You may even get the Atmos mix as a bonus.
Manipulative Dialog: "Just because a man is your ally does not mean he is on your side."
This review was written by a human without the use of AI.My Review System:JVC DLA-RS3100 4K Ultra High-Definition Front Projector
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