It feels like it’s only a third act, lacking any buildup of tension or character development. When Stokes solemnly argues early in the film about risking life for the recovery of what he calls “the foundation of modern society,” the movie has presented its thesis statement, and settled any debate. Though deadly encounters follow, the nobility of the quest is unchallenged.

The film itself looks terrific, thanks to cinematographer Phedon Papamichael’s mostly German locations and a misty, retro-looking palette. Unfortunately, the multiple scenarios make the story-telling a bit unbalanced at times. What overcomes this weakness is the fact that the film makes a profound point in a subtle way – that the Fuhrer’s ambitions if left unchecked would have been world-altering, in the most unsettling of ways.

The Train (1964) starring Burt Lancaster had a similar story where the Resistance had to stop and salvage a train carrying precious art to Germany. While that film was an absolute edge of the seat thriller, the flaw with Monuments Men lies with the script which has a bit of action, buddy bonding and the occasional bout of thrill without really digging deep in to any of them.

‘The Monuments Men’ has some brilliant scenes coupled with a beautifully mounted production, which keep the movie afloat during times when the screenplay fails you on the overall. Much like the mission in the movie, the intent is good; the execution however leaves a lot to be desired. I’d recommend a watch in the theatres but would also recommend a watch of John Frankenheimer’s, high octane action-adventure, ‘The Train’ (1964) which had somewhat of a similar subject but got all the right ingredients to make an exciting watch.