This story isn’t working towards a solution or revisionist history. It merely reminds us that the Devil doesn’t commit atrocities. Men and women do. Kingsley and Hilmar ensure we believe this by delivering three-dimensional performances we’re used to seeing on the heroic side.

Every time An Ordinary Man seems to be headed into a minefield of clichés, it takes an unexpected detour and the film’s final such excursion comes like a gut-punch.

An incredibly precise actor who understands exactly how to play to the camera, conveying volumes via even the slightest microexpressions, Kingsley navigates the tricky mix of humor, horror, and deep-seated regret that make this man, if not exactly ordinary, then relatable, at least.

Kingsley delivers such a riveting performance that it becomes easy to overlook the film's less compelling aspects.

A head-scratcher that ends with a shoulder-shrug, An Ordinary Man feels like a scene-study exercise in which two actors invest full measures in a script that’s only half finished.