Good, not great, and primarily because of pacing (tedious), action (lacking), and tautness (minimal). The first scene was very promising (and, perhaps ironically, beautifully lit), but things tail off quickly thereafter.
I guess, in hindsight, I was expecting something a bit more intense like Valkyrie (or unreasonably hoping for another Schindler's List, Life is Beautiful, or Inglourious Basterds), but instead got something on the order of 2016's Allied or [gasp!] Waiting for Godot.
Clearly, the movie was not aiming for an actiony vibe, and that's understandable. Seeing now that they were aiming instead for a suspenseful dialogue piece, however, I can't help but wonder what it might have become in the hands of a terse, veteran writer like Aaron Sorkin (versus, say, newbie Matthew Orton). I'm not a huge fan of Sorkin's chewing-the-scenery overkill, but you get the idea: The film could have benefited immeasurably from a few dashes of rat-a-tat-tat/prosecutorial exchanges (think Oliver Stone's JFK, for all I care), especially given the quiet, gray-bland room in which much of it unfolds. If there's going to be mostly 'nothing to see here,' then that [in]action should at least be punctuated with some gotcha, clever, highly-charged emotional back and forth to keep one's eye on the ball.
Lastly, I would have appreciated a few additional 'and then what happened was' factoids at the end, but it is what it is.
On a positive note, we found a couple new movie-runnin' buddies, so that's fun.
Enjoy Labor (Labour) Day, America (and Canada)!
