As with this season’s Adam Resurrected, Good’s most impactful moment involves concentration camp prisoners playing, with orchestral instruments, a lyrical death march for impending gas chamber victims. And like Paul Schrader’s film, Vicente Amorim’s drama – adapted from C.P. Taylor’s 1981 play – is otherwise decidedly blunt and unaffecting. In 1933 Germany, liberal professor John Halder (Viggo Mortensen) is perturbed by the ascendant Nazi party’s book burning, yet only meekly raises his voice in objection. Married to a remote pianist (Anastasia Hille) and caring for his senile mother (Gemma Jones), Halder feels trapped until he meets, and is seduced by, a student named Anne (Jodie Whittaker) who’s the epitome of Aryan beauty. Halder’s passive role in their affair and subsequent marriage mirrors his rise up the national socialist ladder, which Amorim’s film depicts as a process facilitated not by dastardly beliefs but by cowardly, selfish, easy acquiescence. Halder is recruited into the SS (as an honorary member, and then ultimately as an active one) because of his novel about assisted suicide that the Fuhrer personally admired for its portrait of humane murder, the obvious reason for Hitler’s true interest in this theme left shrewdly implicit by John Wrathall’s screenplay. The rest of the film, however, is a case of obvious repetition, with Halder’s course of action repeatedly, predictably driven by craven personal expedience, damn the consequences for those like his Jewish friend Maurice (Jason Isaacs). Mortensen’s limp, indecisive gestures and quiet, quavering voice ably convey Halder’s weakness. Yet Good – directed with passable, somewhat stagey formality by Amorim – definitively establishes its argument so early on that, aside from its final revelation regarding Halder’s sporadic hallucinations, it only mildly stirs the head or heart.