Good

There's no denying Good hovers over concepts of good and evil.  And with a title that boldly states its intention it's not surprising when Good is bad.
Good stars Viggo Mortensen as a university professor, John Halder, in Germany during the rise of the Nazi regime. The film starts in the late-30s then rewinds to 1932 to fill us in on Halder's backstory. A succinct third act shifts the action to 1942 and a grinding halt as the film's true intention of being a holocaust drama unfolds.
Good primarily spends time developing character, and Mortensen shows diversity playing a meek, nebbish guy who barely knows what to do when a beautiful student starts seducing him. You know he's acting because Mortensen has made his name playing handsome virile leading men. Men with guts, men with tattoos, men you don't mess with. If Mortensen had been cast in a Broadway play that entailed him transforming from a meek teacher to a sycophant of Nazi ideals the mood and atmosphere might sustain his performance.
On the big screen Mortensen demands respect because of his physique. Even as a wimp, when he strips down he's still buff. Halder's weakness cannot be overcome by Good deficient story, which revolves around people conforming to survive in a society that persecutes outcasts.
Jason Issacs plays Maurice, Halder's only Jewish friend. Their relation and that of Jodie Whittaker. who marries Halder, are connected by fate. Mark Strong who made such an impact in RocknRolla and Body of Lies makes less of an impression here.
Director Vicente Amorim delivers on some fronts like atmosphere. The actors are always drinking beer from an array of steins that lend credence to the era. A lengthy tracking shot at the end attempts to take in the same kind of spacious grandeur as the tracking shot in Atonement. Only here it's Halder wandering through a concentration camp and therein lies Good's fault. It's just not that interesting watching the realization of Halder's Faustian bargain coming to fruition.