Review: ‘High Value Target’ Struggles to Balance Historical Truth with Dramatic Fiction

High Value Target: The Hunt for Saddam marks a significant moment for TNT, signaling a return to original programming for the once-dominant cable network. However, the series feels like a missed opportunity; while it attempts to chronicle a high-stakes intelligence operation, it often feels as though it would have been more effective as a feature film or a stage play.

The eight-episode limited series is based on John Nixon’s memoir, Debriefing the President: The Interrogation of Saddam Hussein. While Joel Kinnaman delivers a solid performance as the “nerdy” lead and the season contains a few poignant episodes with a worthwhile message, the production is hampered by excessive fictionalization, contrived plot points, and one-dimensional supporting characters. Frequently, the historical truth is eclipsed by absurdity.

High Value Target: The Hunt for Saddam

The Bottom Line: A few hours of compelling drama buried under a mountain of fictionalized nonsense.

Airdate: 9 p.m. Sunday, September 13 (TNT)
Cast: Joel Kinnaman, Waleed Zuaiter, Tom Berenger
Creators: Daniel Stiepleman and Jonathan Wakeham
Developed by: Leslie Greif

The fragmented nature of the production is evident in the credits. The show is only “inspired by” Nixon’s book—a phrasing that typically suggests significant creative liberties. The confusing array of “created by,” “developed by,” and “a series by” credits reflects a disjointed creative process.

In reality, John Nixon was the first American CIA analyst to interrogate Saddam Hussein following the dictator’s capture in December 2003. While he was a key figure, he was not the only interrogator, nor the most publicized. However, the series transforms him into a legendary figure. In the show, Nixon evolves rapidly from an ignored desk analyst in Langley to the primary agent responsible for locating Hussein and discovering his “spider hole.”

Throughout the series, Nixon is repeatedly hailed as “the man who caught Saddam Hussein,” a claim that ignores the vast military and intelligence effort involved in the actual operation. This narrative choice makes the show feel untethered from reality, as almost every other character is either a composite or entirely fictional.

Director Leslie Greif, known for works like Hatfields & McCoys, proves capable of dramatizing historical events but struggles here with character development. The supporting cast is thin: Kinnaman’s father (Tom Berenger) is a stereotypical grouchy veteran, and his wife (Rebecca Night) is defined solely by her patience in the face of her illness. Other CIA operatives and translators lack distinct personalities, and the plot takes a surreal turn by depicting Saddam Hussein (Waleed Zuaiter) as speaking nearly perfect English, rendering the translator redundant.

The series finds its footing midseason during the interrogation scenes. For two episodes, the show becomes a pragmatic and interesting study. While the agency pushes Nixon to find weapons of mass destruction—a pretext the show acknowledges was a lie—Nixon seeks a deeper understanding of Iraqi history. The portrayal of Hussein is somewhat romanticized, depicting him as an affectionate father and writer who felt betrayed by the U.S., but this serves the show’s broader critique: that the Iraq War was driven by oil and ego with no plan for the aftermath.

Unfortunately, this intellectual momentum is derailed by a jarring finale. A scene featuring wax-museum-style replicas of George W. Bush, Condoleezza Rice, and other officials is profoundly misguided. It undermines the series’ best directorial choice—the use of authentic news and documentary footage—by replacing real historical figures with unconvincing parodies.

While Greif’s direction is largely uninspired, particularly during the bland action sequences, the acting provides some highlights. Kinnaman convincingly portrays Nixon’s evolution, and Tom Berenger delivers a few powerful monologues regarding his own military service.

Interestingly, the show’s release near the anniversary of 9/11 adds a layer of subversion. In one scene, Nixon corrects his father’s misconception that the invasion of Iraq was a direct response to the World Trade Center attacks, mocking both the administration’s rhetoric and the father’s misunderstanding.

Ultimately, High Value Target makes its arguments adequately, but it fails as a drama. It is a series of strong ideas hampered by poor execution, leaving viewers wishing for a more disciplined approach to its storytelling.

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