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View All Ha-shoter (Policeman) News
All Critics (18)
| Top Critics (9)
| Fresh (11)
| Rotten (7)
The slow-building import nicely captures the macho, band-of-brothers bond. But that's the only spark this otherwise chilly and remote film has to offer.
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.
Obviously, this tale engages many hot-button issues in present-day Israel. But does it say anything particularly incisive or meaningful about their complexity?
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.
A boldly conceived and bracingly told political drama.
This is a lifeless filmschool exercise, an A+ final project that is utterly uninvolving. But the director has made it with such style, that he has lulled many into thinking it is a great film.
Staging of scenes, klutzy editing and what I suspect are actors self-directing, challenges the storytelling and its uniformity.
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.
While some might be disappointed that "Policeman" does not resemble an average fast-paced episode of "Flashpoint," the movie's deliberate pace does allow for a thoughtful examination of today's Israel and the fractures that exist just beneath the surface. While the police and terrorists might not seem to have anything in common, they actually do, in that they resolve their disputes through violence.
Yaron(Yiftach Klein) is the leader of an elite police unit who is also soon to be a father. As such, he looks after his wife Nili's(Meital Barda) every need, even carrying her very pregnant person up several flights of stairs. He is also lecherous enough to hit on a waitress who it turns out is only 15. Ariel(Gal Hoyberger), one of his comrades, has a tumor and the other men in the unit pity him before shifting the blame on a massacre onto him, albeit with his approval.
By contrast, the terrorists do make some valid points. However, Shira(Yaara Pelzig), their spokesperson, is about the only stereotype in a movie full of three dimensional characters, as she seems to be a spoiled young otherwise undecided rich woman who is simply involved in the movement as a way of rebelling against her parents. But Pelzig's fierce performance makes up for some of that.
With an intriguing structure that stays exclusively with each group for an act, I am still a little befuddled by the movie's final shot, like I missed something I should have been paying attention to earlier.
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