Anchoring Werner Herzog purely to his portrayal in American popular culture is a disservice to both, his impressive body of work and, perhaps, to Herzog himself. Known primarily as a mysteriously eccentric character with an intriguing accent, Herzog's life work extends far beyond these narrow confines.

Acknowledging this, the makers of the artist's profile documentary, "Werner Herzog: Radical Dreamer," have commendably sought the insights of the individuals who worked closely with Herzog. Personal recollections from Herzog’s past co-workers - directors of photography, New German Cinema peers, and celebrated actors from his movies like Nicole Kidman and Robert Pattinson, paint a more comprehensive picture of the legendary artist.

However, remember that time when Herzog directed two distinctly different Batman movies? Not everyone might, nor may they remember with fondness "Queen of the Desert." Why, then, is their praise for Herzog so restrained and unremarkable? It's puzzling that a tribute to a figure notorious for his exacting nature and consuming vision, could contain so much filler material.

Despite being the focal point of the conversation, Herzog is rarely the key interviewee in "Werner Herzog: Radical Dreamer." Instead, the documentary inconsistently retells scores of Herzog's already well-known exploits. Fans of Herzog have likely heard the famous tale of how he once threatened to shoot the troubled actor Klaus Kinski, on the set of Herzog's wildly chaotic 1972 drama, "Aguirre, The Wrath of God."

The film offers glimpses of Herzog's "The Mandalorian" co-star, Carl Weathers, effusing about Herzog’s raw 2005 documentary, “Grizzly Man.” Herzog’s brother Lucki Stipetic, who was also his long-time producer, shares his perspective on some of their iconic collaborations, adding a seemingly aloof confirmation that, "Dragging a ship over a mountain seemed like a wild idea, right?" Nonetheless, the documentary's lack of revealing interviews may leave Herzog's aficionados feeling dissatisfied.

Herzog, the character, has understandably attracted an ardent cult following, given his determined uniqueness. Yet, an attempt to capture the capricious dreamer in Herzog falls short in this documentary. His films often takes viewers on a journey of intense emotional upheaval, a nuanced perspective that's hard to replicate without more than a sprinkling of movie clips, or repetitive remarks from talking heads.

A bewildering blend of personalities interacting in the film sometimes creates an unpredictable harmony. In a memorable dovetail, we shift from fellow New German Cinema filmmaker Wim Wenders, who believes that Herzog dramatically shaped American perception of Germans, to Carl Weathers, who quirkily likens Herzog to Darth Vader. The cryptic remarks made by these two vastly different personalities offer an info-poetic moment the documentary.

Yet, not all moments in "Werner Herzog: Radical Dreamer” contribute meaningfully to the narrative. Standout digressions include Herzog's grandson ski-jumping, reminiscent of the 1974 short documentary by Herzog about Swiss ski jumper Walter Steiner. Also, Herzog's monologue about Los Angeles' appeal where "People don't just talk about it, they actually do it," perplexes more than it enlightens.

One could argue that the documentary's charm lies in how it mirrors Herzog’s inherent quirkiness. But, disappointingly, the filmmakers fail to probe deeper into the minds of personalities like “The Act of Killing” director Joshua Oppenheimer or coax more anecdotes from “Rescue Dawn” star Christian Bale. The result? An eerie counterpoint between a disorderly homage to Herzog and the tantalizing alternative of enjoying one of Herzog's own films.