The new drama “Nuremberg” (2025), starring Russell Crowe and Rami Malek, sets out to depict one of history’s most significant courtroom moments: the trials that defined modern wartime justice.
Yet, as critics and audiences encounter the film, one persistent question emerges: does “Nuremberg” realize what it wants to say about the crimes it portrays, or does it confuse its own stance on the perpetrators?
The tension seeps into every scene, particularly as the narrative attempts to humanize high-ranking Nazi war criminals, notably Hermann Göring (Crowe), whose complex relationship with U.S. Army psychiatrist Douglas Kelley (Malek) forms the movie’s dramatic backbone.
From its debut at the Toronto International Film Festival (TIFF), the film generated strong buzz for Crowe’s command of Göring’s charisma and cruelty.
His interior battles and verbal spars with Kelley deliver gripping exchanges, but the emotional tone shifts so frequently that viewers are left uncertain about who, if anyone, deserves empathy.
Despite moments that highlight the monstrousness of Nazi ideology, scenes focusing on personal regret, such as Göring quietly mourning his family, spark controversy over whether the film inadvertently softens its depiction of genocide’s architects.
This conflict stems from filmmaker James Vanderbilt’s choice to illuminate the “human side” of those responsible for genocide.
While some reviewers argue that these insights bring depth, others see them as wasted moments that fail both history and survivors, particularly when the film’s script appears to excuse or rationalize Nazi behavior under the guise of exploring fairness and due process in the courtroom.
Such creative decisions have become focal points for ethics debates on social media threads, as audiences reflect on the implications of empathy given to criminals in real-world indictments of atrocity.
For those familiar with Stanley Kramer’s classic “Judgment at Nuremberg” (1961), which examined moral responsibility and the abuse of legal principles, the new film feels less sure-footed in its criticism of war crimes and international law.
By centering its story on the psychological contest between psychiatrist and accused, “Nuremberg” risks narrowing the field: where Kramer’s film sought to scrutinize individual and national guilt, Vanderbilt’s rendition feels wavering, sometimes distracted from the stakes of collective memory and accountability.
Audiences and Critics React: From Casting Praise to Moral Misgivings
After premiering at TIFF, “Nuremberg” quickly drew attention not just for its story, but also for the performances anchoring its uncertain narrative. Crowe’s turn as Göring received widespread acclaim for balancing intimidation and pathos, with Malek’s Kelley providing a restrained counterpoint.
These powerful portrayals, supported by Michael Shannon and a strong supporting cast, managed to engage viewers even through the film’s meandering pacing and frequent tonal shifts.
Audience reactions have been nuanced: many found the historical scale and courtroom drama gripping, especially during sequences showing archival footage of Nazi atrocities.
Several reviewers highlighted the film’s haunting atmosphere, underscored by a somber soundtrack and sharp cinematography, which intensified the impact of the weighty material.
In some accounts, scenes were so intense that theaters reportedly fell silent during depictions of the Final Solution, the audience absorbing the gravity of genocide.
Still, praise for technical achievements could not dispel concerns about storytelling. Discussions on Reddit, Rotten Tomatoes, and other review aggregators repeatedly questioned whether “Nuremberg” gives too much emotional space to perpetrators, risking audience discomfort or even inadvertent sympathy for the architects of mass murder.
The film’s reliance on English-language courtroom drama, with little attention given to non-American or non-British perspectives, left some viewers wishing for a broader exploration of the international context and the tribunal’s diverse judges and prosecutors.
Nuremberg (Credit: Sony Pictures Classics)
The movie’s evolving reputation also reflects a change in critical consensus. Initially, “Nuremberg” struggled with a “Rotten” rating on Rotten Tomatoes, starting at 40% after TIFF, but after wider reviews appeared, the score climbed to 67%, underscoring just how divided viewers remain over its execution.
This turnaround raises questions about audience values and what viewers expect from Holocaust cinema: should art provoke empathy for all, even villains, or focus solely on upholding survivor narratives and justice?
The Ethics of Storytelling: Where Do We Go From Here?
“Nuremberg” stands at the intersection of historical drama and contemporary debate about the responsibilities of filmmakers handling atrocity narratives.
As the movie draws on factual records and personal testimonies while dramatizing the Nuremberg trial’s legal innovations, its own approach becomes a flashpoint for conversation about how movies should represent evil.
Legal scholars and cultural critics have long debated how best to recount mass violence: Should a film center on individual culpability and legal fairness, as Kramer’s earlier work did, or incorporate didactic aims that judiciously tie courtroom outcomes to broader social understanding?
“Nuremberg’s” uneven stance, at times noting the lack of fairness in the Allied tribunal and at other points affirming absolute blame for Nazi defendants, leaves viewers with open-ended questions and persistent unease.
Current pop culture coverage suggests that audience expectations have shifted. Recent news articles and festival recaps agree that viewers seek nuanced handling of survivor pain and international justice, with few willing to accept ambiguity or perceived moral softening in stories of genocide.
Where “Nuremberg” stumbles is not just in failing to “fix” its giant questions but in attempting to squeeze too much complexity into a two-hour frame, sometimes sacrificing clarity for breadth.
Looking ahead, the film’s legacy may rest on keeping the debate alive about the right way to reflect history’s darkest chapters. The buzz, backlash, and conversations surrounding its release exemplify why Holocaust cinema remains vital, controversial, and always evolving.
As critics and audiences continue parsing the film’s intentions and results, “Nuremberg” is a reminder that storytelling about atrocity trials must remain both responsible and rigorous in its pursuit of truth.
A new entertainment titan is rising, and the latest deal marks it: Netflix just confirmed Mattel and Hasbro, the residences of Barbie and gaming icons, will manufacture and market all official toys, collectibles, and merchandise for K-Pop Demon Hunters throughout 2026 and beyond.
That means dedicated fans of the animated musical phenomenon, an adventure following a K-pop girl group juggling stadium concerts and demon-hunting duty, will soon access a full vault of dolls, playsets, games, and branded goodies, rolling out in time for spring and holiday shopping next year.
The agreement’s size signals one thing clearly: this is no longer just a hit movie but an ambitious new franchise ready to thrust K-pop into the world of pop licensing.
Mattel’s Barbie brand, celebrated for capturing generations of imagination , aligns naturally with Demon Hunters’ blend of chic, empowered girl group energy.
Mattel will begin with a HUNTR/X trio collector’s doll pack, incorporating the film’s most popular characters, Rumi, Mira, and Zoe, in outfits straight from the silver screen and ready for cosplay and fan art to follow.
Hasbro, meanwhile, expands the reach with plush toys, role-playing kits, youth electronics, and branded classics like Monopoly Deal, reimagined for the fandom.
“Fans have demanded this collaboration since Demon Hunters dropped on Netflix,” said Mattel’s Roberto Stanichi, reflecting the chorus across social media.
The partnership stands out because merchandising is typically reserved for established global brands, yet Demon Hunters, since debuting in June, has become Netflix’s most-viewed original movie, topping more than 325 million streams and driving the single “Golden” to platinum status.
Netflix’s own online shop already posts apparel and accessories, but this co-master licensing signals a major step toward the sort of lucrative IP pipelines usually dominated by Disney and Marvel.
Franchise Building: K-Pop’s Pop Culture Influence and Global Potential
The K-pop Demon Hunters formula fusing vibrant music, fantasy, and empowered pop idols has proven irresistible. Social platforms erupted in cosplay, dance routines, and art, mirroring the film’s kinetic energy and giving the IP a built-in fan community well before any toy reached production.
These fan-driven phenomena are no accident: Netflix and Mattel are counting on intense digital engagement and global fandom to push the franchise into territories where music and collectible culture overlap.
K-Pop Demon Hunters (Credit: Netflix)
Mattel and Hasbro’s willingness to support Demon Hunters so soon after its premiere disrupts traditional franchise timetables, which often require several film or TV seasons to justify mass-produced toys.
Industry analysts comparing Demon Hunters with other breakout media point to Barbie and Frozen as prime examples of synergy between cinematic success and global merchandising ambition; both earned billions in revenue thanks to popular dolls, games, and branded gadgets.
Netflix wants in: smaller hits scaling into giant profit streams by leveraging viral fan interest and cross-media storytelling.
Beyond revenue, these moves reflect evolving strategies for Western and Asian pop power. K-pop, once considered niche in American markets, now commands worldwide followers and, through Demon Hunters, enters the lucrative toy and game space.
Hasbro’s Tim Kilpin emphasized that their role is to transform screen stories into immersive experiences, citing youth electronics and role-play sets designed for interactive fan participation.
This indicates a future where entertainment franchises build hybrid communities, letting viewers become part of the universe through physical toys, social events, and digital games.
Pop, Play, and Payoff: The Merch Phenomenon’s Social Impact
While business headlines focus on Mattel and Hasbro’s competitive advantage, the franchise’s expansion holds equally big implications for fans and creators.
The arrival of officially licensed dolls and collectibles answers months of fan requests: across Reddit and TikTok, scented plushies, stylized Monopoly editions, and doll cosplay sets sparked speculation and wishlist threads months before the partnership became public.
By responding to this grassroots demand, Demon Hunters signals a shift in how entertainment companies gauge and reward audience loyalty.
For the creators, this success also opens new ground for Asian-led IP in Western licensing, drawing attention to how global media companies can champion diverse representation and storytelling through merchandise not only as an afterthought but as a core business strategy.
Netflix’s Marian Lee describes the partnership as “for the fans,” recognizing that tie-in products strengthen community and engagement beyond streaming metrics. This blueprint is already replicated by other studios seeking to boost franchises through mobile games, immersive experiences, and interactive merchandise.
The result: K-Pop Demon Hunters may well redefine how original stories move from screen to shelf and how K-pop and Asian storytellers set the pace for global pop phenomena.
With the Mattel and Hasbro deal securing its future as both a blockbuster and a merchandising powerhouse, all eyes are now on Demon Hunters as it shifts from a hit movie to a multi-platform legend.
