Nuremberg

In 1905, philosopher George Santayana said, “Those who cannot remember the past are condemned to repeat it.” Most of us have heard those words, but time and time again, in the one hundred and twenty years since they were spoken, we have failed to heed that warning. Everywhere you look today, the paths we have started to go down bear familiar signs—but so many ignore them. Maybe a good dose of history will help remind people. James Vanderbilt has arrived at the perfect time with Nuremberg, to help us remember a past we should never forget.

World War II is over, but the cleanup has just begun—and with it comes the task of holding people responsible for the millions of deaths Nazi Germany inflicted on Europe. Although some preferred to simply hang all they could, Robert H. Jackson (Michael Shannon), a Supreme Court Justice, thought they should be put on trial for their crimes. After some discussion, the United States, Great Britain, Russia, and France agreed, and the trial was set to begin on November 20, 1945.

With a date in place, Jackson brings in a psychiatrist named Douglas Kelley (Rami Malek) to evaluate the captured generals. While doing so, Kelley becomes increasingly obsessed with understanding how such evil forms—and even begins to form a bond with one general in particular. That general is the second in command of the Nazi regime, Hermann Göring (Russell Crowe), who uses that bond to make a connection—and perhaps to manipulate Kelley for his own benefit. The powers that be are not oblivious to this and bring in another doctor to assist with the evaluations. All of this builds toward one of the most important trials in the history of the world.

Written by Vanderbilt and based on Jack El-Hai’s book The Nazi and the Psychiatrist, Nuremberg understands the weight of the story it’s telling and effectively conveys the immense stakes of this history-changing trial. Still, this is not just a courtroom drama; Nuremberg also explores the men on trial, even if not as deeply as one might like. Make no mistake—you always feel the weight of the situation. Vanderbilt keeps the tension palpable while adding moments of levity here and there, allowing both the audience and the characters a chance to catch their breath.

Nuremberg has its moments of being a gripping thriller, as it poses difficult questions about the nature of evil. There are plenty of scenes that will command your full attention, though the film often feels familiar, as Vanderbilt employs traditional filmmaking techniques and a tone designed for broad accessibility. The first half plays as a duel of wits between Malek and Crowe before evolving into a solid courtroom drama in its third act. Much of the film rests on those early exchanges between Kelley and Göring, and while it doesn’t aim for strict physical authenticity—especially with Göring—the character fits Crowe perfectly.

I wish I could say the same for Malek, whose performance may be one of the weaker elements here. Luckily, the film is filled with excellent supporting turns, including those from Shannon, Richard E. Grant, and several talented German-speaking actors. Ultimately, Nuremberg is a confident, compelling film filled with strong performances. It’s often riveting and, most importantly, speaks a powerful warning—one we would do well to listen to carefully.