Kritiken

The characters' mission leads them to the gates of Auschwitz itself, where Rampton coldly scrutinizes the interior of a gas chamber and the bombed-out remnants of a crematorium, searching for the incontrovertible evidence that will prove Irving's undoing. Whether such evidence actually exists is one of the questions that makes "Denial" inescapably fascinating, despite its paint-by-numbers filmmaking and a premise as absurd, in its own way, as Irving's lawsuit.

A refined, almost dry chamber piece – a fact which will divide audiences. Yet director Mick Jackson remains steadfast in his sombre approach to Hare's satisfyingly rich screenplay, confident in its power and that of the assembled cast.

A movie that stayed rigorously inside its heroine's muzzled sense of frustration could be compelling, but Jackson keeps cutting to superfluous subplots, and practices the worst sort of dishonest, audience-baiting manipulation in the home stretch.