Footnote Reviews

  • Jun 01, 2019

    Despite some good direction, smart writing and interesting photography "Footnote" got stranded in a couple of passages, and that did not allow me to enjoy the film as I was expecting to do. Nevertheless, with a strong start and an interesting closure, I found the film worthy to be watched.

    Despite some good direction, smart writing and interesting photography "Footnote" got stranded in a couple of passages, and that did not allow me to enjoy the film as I was expecting to do. Nevertheless, with a strong start and an interesting closure, I found the film worthy to be watched.

  • May 04, 2018

    Subtle, acerbic look at the human condition, with a dash of academia thrown in for good measure.

    Subtle, acerbic look at the human condition, with a dash of academia thrown in for good measure.

  • May 29, 2017

    A must watch for those in the academia or you are into Jewish culture.

    A must watch for those in the academia or you are into Jewish culture.

  • Oct 10, 2016

    This starkly dark Israeli comedy lampooning the brattish egocentrism among academia falls short of brilliance in the ham-fisted final act.

    This starkly dark Israeli comedy lampooning the brattish egocentrism among academia falls short of brilliance in the ham-fisted final act.

  • Aug 27, 2016

    How does Pride do its damage? In the most sacred Talmudic scholarship, what does a prideful person manifest his pride? This is deeply felt, non-sentimental, yet complex study of a bitter old scholar's rage against his obscurity, against his more successful son, and did not see the toxic waste of his bitter disappointment destroying everything around him. A exceptionally well-made film.

    How does Pride do its damage? In the most sacred Talmudic scholarship, what does a prideful person manifest his pride? This is deeply felt, non-sentimental, yet complex study of a bitter old scholar's rage against his obscurity, against his more successful son, and did not see the toxic waste of his bitter disappointment destroying everything around him. A exceptionally well-made film.

  • Mar 12, 2016

    Joseph Cedar's Footnote tells a very personal story in an impersonal and trivializing way. It's Cedar's unusual, energetic style that likely pleased the 2011 Cannes Jury enough to give the film a prize (Best Screenplay), but it's these very same qualities that will leave a mildly unsatisfying taste in your mouth. Footnote contains moments of confident familial drama, but the film's emotional impact gets muted by a goofy score, artsy cuts, and broad humor. Eliezer (Shlomo Bar-Aba) and Uriel (Lior Ashkenzai) Shkolnik are both acclaimed, Israel-based professors of the Talmud. Eliezer is Uriel's stern father, though the latter's reputation within the academic community has far surpassed the former's. Eliezer, however, doesn't believe his son is doing work worthy of the accolades he's received, and he's vindicated when he gets a call informing him he's won the Israel Prize, an acknowledgment that's eluded him for nearly 20 years. In many ways, he becomes a new person, even going so far as to crack a smile. Imagine Uriel's predicament, then, when he learns the prize was meant for him and that a vengeful committee member insists on rectifying this monumental, and potentially family-destroying, error. Footnote questions the value of the truth in a pretty brilliant way. Why, then, does it feel so inauthentic? That's a question that looms over the proceedings from the very beginning. Uriel is accepting an award, and during his speech, he does nothing but praise his father. The camera, however, lingers on Eliezer, scowling in the front row. It's a take that establishes the character well, but it's also indicative of Cedar's tendency to over-stylize. You'll see this again with the film's musical cues, which feel like they belong more in an episode of Curb Your Enthusiasm than a film like this. Ditto the seemingly superfluous chapter titles, and a few other montage-esque devices used to establish the film's rich backstory. The film's saving grace is a fantastic scene near the film's midpoint, during which the Israel Prize committee informs Uriel of the mistake they've made and their plan to rectify it. For Uriel, his father's well-being is more important than any more professional gratification, no matter how prestigious this particular award might be. He's suspicious of the committee's explanation, and for good reason: It's chairman and Eliezer are bitter enemies, and Uriel knows that the chairman knows further humiliation will essentially bury Eliezer. It culminates in startling fashion-swinging fists and, later, a declaration: Eliezer can accept the prize if Uriel a.) Writes the committee's remarks, and b.) Agrees to never submit his own name for this award again. "Fine," he declares, but Eliezer's newfound confidence starts to drive his son crazy, making this unspoken agreement hard to live up to. It's such rich material but it never comes together the way it should. Everything is moderately successful-the acting, the direction, the writing. And just when you think the film has turned a corner, shaken out the shit, it resorts back to manipulation and cheap laughs. Cedar is young guy with obvious talent, but Footnote is a disappointing misfire. http://www.johnlikesmovies.com/footnote-review/

    Joseph Cedar's Footnote tells a very personal story in an impersonal and trivializing way. It's Cedar's unusual, energetic style that likely pleased the 2011 Cannes Jury enough to give the film a prize (Best Screenplay), but it's these very same qualities that will leave a mildly unsatisfying taste in your mouth. Footnote contains moments of confident familial drama, but the film's emotional impact gets muted by a goofy score, artsy cuts, and broad humor. Eliezer (Shlomo Bar-Aba) and Uriel (Lior Ashkenzai) Shkolnik are both acclaimed, Israel-based professors of the Talmud. Eliezer is Uriel's stern father, though the latter's reputation within the academic community has far surpassed the former's. Eliezer, however, doesn't believe his son is doing work worthy of the accolades he's received, and he's vindicated when he gets a call informing him he's won the Israel Prize, an acknowledgment that's eluded him for nearly 20 years. In many ways, he becomes a new person, even going so far as to crack a smile. Imagine Uriel's predicament, then, when he learns the prize was meant for him and that a vengeful committee member insists on rectifying this monumental, and potentially family-destroying, error. Footnote questions the value of the truth in a pretty brilliant way. Why, then, does it feel so inauthentic? That's a question that looms over the proceedings from the very beginning. Uriel is accepting an award, and during his speech, he does nothing but praise his father. The camera, however, lingers on Eliezer, scowling in the front row. It's a take that establishes the character well, but it's also indicative of Cedar's tendency to over-stylize. You'll see this again with the film's musical cues, which feel like they belong more in an episode of Curb Your Enthusiasm than a film like this. Ditto the seemingly superfluous chapter titles, and a few other montage-esque devices used to establish the film's rich backstory. The film's saving grace is a fantastic scene near the film's midpoint, during which the Israel Prize committee informs Uriel of the mistake they've made and their plan to rectify it. For Uriel, his father's well-being is more important than any more professional gratification, no matter how prestigious this particular award might be. He's suspicious of the committee's explanation, and for good reason: It's chairman and Eliezer are bitter enemies, and Uriel knows that the chairman knows further humiliation will essentially bury Eliezer. It culminates in startling fashion-swinging fists and, later, a declaration: Eliezer can accept the prize if Uriel a.) Writes the committee's remarks, and b.) Agrees to never submit his own name for this award again. "Fine," he declares, but Eliezer's newfound confidence starts to drive his son crazy, making this unspoken agreement hard to live up to. It's such rich material but it never comes together the way it should. Everything is moderately successful-the acting, the direction, the writing. And just when you think the film has turned a corner, shaken out the shit, it resorts back to manipulation and cheap laughs. Cedar is young guy with obvious talent, but Footnote is a disappointing misfire. http://www.johnlikesmovies.com/footnote-review/

  • Feb 06, 2016

    Despite holding back, kinda amazing.

    Despite holding back, kinda amazing.

  • Jan 15, 2016

    Saw this last night in Amsterdam and was thoroughly engaged. Great Father Son dynamics, acting, camera work and photography. We had the added benefit to enjoy a facilitated group discussion. Highly recommend this movie to those looking for a movie that makes you think about the dynamics, oneself and those you know.

    Saw this last night in Amsterdam and was thoroughly engaged. Great Father Son dynamics, acting, camera work and photography. We had the added benefit to enjoy a facilitated group discussion. Highly recommend this movie to those looking for a movie that makes you think about the dynamics, oneself and those you know.

  • Robert B Super Reviewer
    Sep 30, 2015

    Footnote is a very engaging film with strong acting, storytelling, and cinematography. The culture and setting of Israel are interesting as well and add to the film's depth. The strong negative reviews are surprising, though the film is mislabeled as a 'comedy' when it is a family/political drama. I go the other way and highly recommend it.

    Footnote is a very engaging film with strong acting, storytelling, and cinematography. The culture and setting of Israel are interesting as well and add to the film's depth. The strong negative reviews are surprising, though the film is mislabeled as a 'comedy' when it is a family/political drama. I go the other way and highly recommend it.

  • Jul 08, 2015

    Interesting movie about the politics of academia. The father is a real asshole character, his utter unlikability kind of hurts the movie, at least for me.

    Interesting movie about the politics of academia. The father is a real asshole character, his utter unlikability kind of hurts the movie, at least for me.