History has the ability to be manipulated through persuasion, even despite tangible proof providing the contrary. As Hermann Görring (Russell Crowe) speaks in his own defense, his actions were entirely of his dedication to his country and not with the intent of genocide. Of course, this is not true. Filmed proof of the horrific outcome of the Holocaust is played in court and he refuses to admit its legitimacy. Every member of the International Military Tribunal knows he is full of it. They just have to get him to admit it. Cue chief psychiatrist Douglas Kelley who develops a Will Graham/Hannibal Lector-style conversation companionship with the Second-in-Command to Adolf Hitler. Kelley is tasked with getting Görring to crack while also attempting to understand Görring’s acceptance of evil, how he is able to grapple with and justify it.

James Vanderbilt, most celebrated for penning the brilliant Zodiac (2007) returns to a similarly procedural thriller detailing the events leading up to the famous Nuremberg trials and eventually the event itself. A Sorkin-lite dialogue driven, large-ensemble cast historical drama that tackles a pivotal moment in world history that should please those just interested in a dramatic depiction of these events. The type of World War II cinema the late 20th century/early 21st century used to pump out every fall season with a big starry cast that would be catnip for Academy voters. The overabundance of stale, Hollywood-ized war dramas have diluted the appreciation of simply-made historical films (ones that should continue to be made regardless) and Vanderbilt’s direction is nothing too praise-worthy. His script, though, does offer enough compelling ideas and discussions.

Nuremberg‘s best moments are surprisingly pre-trial. A fairly rivetingly-paced preparation of evidence, conversational back-and-forths, effective character exploration that takes up almost ninety minutes of this two-and-a-half hour talkie and it flies by. Backed off of the strengths of its impressively-assembled ensemble that features John Slattery as commanding officer Burton C. Andrus, Michael Shannon as American prosecutor Robert H. Jackson, Richard E. Grant as British prosecutor David Maxwell Fyfe, Leo Woodall as Sgt. Howie Triest, and of course, an accent-heavy scenery-chewing Russell Crowe as Görring, the camera is fixated mostly on their back-and-forth. Woodall in particular gets one big emotional scene with Rami Malek that contextualizes his complicated personal connection to the trial that while a bit on-the-nose dramatically, does add a layer of sympathetic attachment to what is mostly a hard-boiled investigation story.

Only one performance really threatens to sink the film, though ironically, its the anchor Rami Malek, who can’t help but constantly feel miscast, awkwardly showcasing Kelley’s explosive bursts of frustration that oddly channels the erratic wide-eyed choices of his costar Michael Shannon in other films, who is far more subdued here than expected. Crowe’s cartoonish accent work in recent superhero films Kraven the Hunter (2024) and Thor: Love and Thunder (2022) may echo in the ears while watching him portray the insidious real-life German officer, but he finds a tricky way to humanize the inhumane, fully convictive of his own morality. A few too many stumbling choices in his filmography as of late can’t erase the level of commitment Crowe gives to his characters, even when not necessary. In fact, Malek’s best acting moments are with Crowe during their intense, but quiet verbal sparring.

Nuremberg may not be a great film. In fact, it’s only barely good given that the trial itself is unfortunately the least interesting section of the movie and the film ends more on a whimper than probably intended. What it is is competent and agreeable. A history-class presentation of events that is just involving enough to entertain, mature enough to respect, and factually-stimulating to recommend as a simple-yet-successful dramatic retelling for your WWII-obsessed parent or grandparent. One that will come-and-go in theaters, but inevitably last for weeks in Netflix’s Top 10 sometime next year.