7 Tage in Entebbe

Die Tanzgruppe in der Abschlussszene, auf welche die Zuschauer*innen ein wenig gespannt die ganze Zeit warten, ist wirklich eine schwache Leistung. Soll es etwa ein künstlerischer Moment sein, damit das Werk nicht nur als Genre-Film rüberkommt, der auf Realien baut? Eine schlechte Entscheidung. Den Film retten nur anerkannte Schauspieler*innen. (06.04.2018)

I will not comment on the acting here, but the adaptation is a quite atypical construction of a historical event unsure of its purpose. The scene of the Israel army’s final operation is artistically fragmentized (the reason for that I am yet to understand) and combined with scenes of some African dance in the theatre. So, what was this film? Historical drama, or historical art? (18.01.2019)

It could have been a solid political-military thriller about freedom fighters, intelligence agencies, political leaders and a good reconstruction of an important event in history. It could hardly have turned into a melodrama or a love triangle, although I suppose that could have been playable too. The ending, however, is a mess; a flavourless carnage. The stellar cast doesn't have much room to play, a lot of supporting characters with potential are needlessly neglected, and by far the most interesting thing about the entire film takes place somewhere other than Entebbe, in Israel. A clear failure of the filmmakers, because to use such an interesting material, especially today, in such a mediocre, bland way, is a real art. The final military raid interspersed with wtf dancing is a pure display of idiocy. (22.06.2018)

Die Tanzvorstellung, welche den ganzen Film begleitet, war für mich verwirrend. Sehr verwirrend. Und die Figuren der Tänzerin und ihres Freundes, des Soldaten, waren eigentlich überflüssig. Dann kam aber das Actionfinale am Flughafen, dem eben diese Aufnahmen von sich wild bewegenden Körpern der Tänzer und die intensive Musik einen einzigartigen Charakter verliehen haben. Es war etwas, was ich noch nie gesehen habe. Wegen dieser originellen Idee, welche aber bestimmt nicht jedem gefallen wird, gebe ich dem Film einen Daumen nach oben. Positiv bewerte ich auch das absolut glaubwürdige Paar Rosamund Pike und Daniel Brühl und die exakte Leistung von Eddie Marsan in der Rolle von Schimon Peres. (27.07.2020)

Padilha why do you make this, this art? You know you don't understand it. As a shade of his former intransigence, the one-time heir to Greengrass stimulates the decline of his own powers with schoolboy-like wooden allegories, leaving one to appreciate the documentary-style cinematography, Rosamund Pike believable in the sack, and look forward to the final showdown. And yet it’s hard to imagine a bigger disaster. A terribly goofy and confusingly shot and edited shootout that doesn't even bother to dwell on the cinematically rewarding actions of the Mossad invasion force, such as the blowing up of Ugandan fighter jets, the death of hostages, or the revenge of the Ugandan president on one of them, and instead intercuts it with an episode of stage dancing. Dear god. (27.06.2018)

The film was quite good, although... I wasn't too interested in the flashbacks from the lives of the terrorists. I would have gladly exchanged them for more political negotiations in Israel. I was pleased with the performances of Rosamund Pike, Daniel Brühl and Eddie Marsan, but I did not understand the storyline with Sarah and Zeev, it seemed completely out of place and then just fizzled out in the end. (09.09.2018)

There must be a mistake somewhere, as I was much more interested in the dancer's fabulous ballet creations during the closing credits than in the whole plot of the movie. On the plus side, this political thriller is endowed with a fairly solid cast and unquestionable informational value. (55%) (20.08.2022)