Young's well-intentioned dramatic re-enactment of their encounters is burdened by sepia-period accessorizing, laborious flashbacks, spurious comparisons between the two men's domestic lives, and the downright bizarre casting of Franka Potente as Less's ailing wife and Stephen Fry as an Israeli pol who wants the case wrapped up in five minutes or less.
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The movie's twitchy, diabolical monster is neither persuasive nor historically tenable, and unlike Arendt's Eichmann, he's far too easy to dismiss.
New York Daily News by Joe Neumaier
The final fate of Adolf Eichmann is certainly a compelling subject. But its dramatic impact is severely diminished here by stilted filmmaking and wooden performances.
Los Angeles Times by Kevin Thomas
Eichmann, in all its solemnity, needs to be more dynamic; the film's portentous score further weighs it down.
Boxoffice Magazine by Mark Keizer
Robert Young's Eichmann feels the burden of history so heavily that it's effectively smothered by it.
The New York Times by Mike Hale
Mr. Kretschmann holds your attention through each whining complaint and bland denial. His character may be banal, but his portrayal is the only thing that keeps you watching.