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Max

Max

War · Drama · 2002

In 1918, a young, disillusioned Adolf Hitler strikes up a friendship with a Jewish art dealer while weighing a life of passion for art vs. talent at politics

Movie details

Max

“Art + Politics = Power”

2002 War · Drama 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

In 1918, a young, disillusioned Adolf Hitler strikes up a friendship with a Jewish art dealer while weighing a life of passion for art vs. talent at politics

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Max?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Irena Sendler is a Catholic social worker who has sympathized with the Jews since her childhood, when her physician father died of typhus contracted while treating poor Jewish patients. When she initially proposes saving Jewish children from the Warsaw Ghetto, her idea is met with skepticism by fellow workers, her parish priest, and even her own mother Janina.

The Grey Zone

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The Last of the Mohicans

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Nuremberg

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Conspiracy

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At the Wannsee Conference on January 20, 1942, senior Nazi officials meet to determine the manner in which the so-called "Final Solution to the Jewish Question" can be best implemented.

The Unforgivable

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Names above the title

The people responsible.

Directed by

Menno Meyjes

Written by

Menno Meyjes

John Cusack

John Cusack

Max Rothman

Noah Taylor

Noah Taylor

Adolf Hitler

Leelee Sobieski

Leelee Sobieski

Liselore von Peltz

Molly Parker

Molly Parker

Nina Rothman

Kevin McKidd

Kevin McKidd

George Grosz

Yuliya Vysotskaya

Yuliya Vysotskaya

Hildegard

Peter Capaldi

Peter Capaldi

David Cohn

Court is in session

Put Max on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.