Average Rating: 6.4/10
Reviews Counted: 16
Fresh: 11 | Rotten: 5
No consensus yet.
Average Rating: 8.5/10
Critic Reviews: 7
Fresh: 6 | Rotten: 1
No consensus yet.
Average Rating: 3.1/5
User Ratings: 149
Yaron, an elite special operations squad leader, is the spiritual leader and alpha male among his peers, a small, highly trained team that is part of the Israeli Defense Ministry's Anti-Terrorism unit. These men work, play, laugh, and cry together. They are true patriots. Yaron's wife is expecting their first child, and the failing health of a team member weighs on his soul, and the price that must be paid as a result of this. As the story shifts, the antagonists are introduced: a small group of
Jun 13, 2014 Limited
Corinth Films - Official Site
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Policeman creates contrasts between families and surrogate families; patriarchy and maternity; truth and fiction; and sanctioned and unsanctioned aggression.
Lapid's workmanlike direction illustrates his airless script efficiently, and sometimes engagingly, but unimaginatively. He has something to say; he shows very little.
Mr. Lapid, making an electrifying feature directing debut, traces the line between the group and the individual in a story that can be read as a commentary on the world as much as on Israel.
Nadav Lapid's Policeman deftly examines the physical and spiritual fallout of ideology turning into action.
Staging of scenes, klutzy editing and what I suspect are actors self-directing, challenges the storytelling and its uniformity.
Obviously, this tale engages many hot-button issues in present-day Israel. But does it say anything particularly incisive or meaningful about their complexity?
Policeman is a notable debut from young Israeli film-maker Nadav Lapid which packs quite a punch.
Lapid's sense of rhythm is as clunky as his compositions... [Policeman] perversely ends at the exact moment that it finally gets interesting.
Israel's fractured psyche is plumbed via narrative splintering in Policeman, Nadav Lapid's compelling drama about his homeland's burgeoning social unrest.
Yet from the get-go an ambient unease has been built into the film's thoughtful cutting and framing, more Antonioni than Haneke.
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