Munich has Spielberg's most identifiable filmmaking, as in it's a series of bravura camera and edit set ups - but it is not in my favorites of his. It is a masterwork film for sure in a catalog of absolute genius work, but the movie leaves me cold. The politics are unclear other than killing is bad - not that it needs to answer anything - but it is ultimately a very dispiriting movie. You can't put this direction ahead of Schindler's List on a technical level anyways. There's a lot more risky camera/actor bonding moments in that film that won't be seen simply because it's so fluid. That's the true mark of directorial genius - when your art is so infused into the experience it is hard to extract the formality of it. Just take the long shot of Nazis trying to kill a man where Spielberg runs background extras on the malfunctioning gun as a joke...in an Auschwitz film...about a Jew being seemingly executed. I don't think there's any filmmaker in the world who could pull that off. Like how do you even fucking come up with that, and then think you can skillfully find the tone to make that scene work and not blow the film up but also question the nature of God or luck. That's not just genius, that's insanity. I love Spielberg. He will always be the greatest of all time. Munich is great, but it's not the Greatest. The moral murkiness of Munich is the greatest for adulting people in the middle of their existential crisis, who need answers to be nihilistic. But give it a couple years, have a couple children, love your family, and life becomes meaningful again. What makes something Great reminds us what makes us Great. As skillful as Munich is, the meaning is as important as the movement.