Though Costa-Gavras brings nothing new to the table about the Holocaust, he puts another nail down in the argument that the world could have acted but didn't because of indifference.

Though such elements might chip away somewhat at Amen’s seriousness of intent, they do add fire to the stimulating drama.

It's so inert, so slow-moving that it seems at least twice as long as it really is, and it manages to waste a potentially fascinating premise.

Costa-Gavras often shortchanges the story's inherent drama for talky and strident speechifying.

Costa-Gavras deserves credit for staying the course; in a time when most European film directors are wringing their hands, he's still pointing fingers.

Extremely heavy-handed, almost comically repetitious, and way too long.

Tukur's performance is the centerpiece of the movie; it's a wonderful mixture of outrage and swiftly disappearing naivete.

Less a gripping drama than a stimulating bit of polemic.

Costa-Gavras' political thrillers used to jab and thrust with lethal efficiency. This one just pounds against a heavy bag, huffing and puffing all the way.

A movie that suggests the Holocaust may be an endless source of absorbing, heartbreaking dramas.