I have no idea what the intended goal of this movie is. What did the director want us to see ? The Raid ? The motives behind the actions of the hijackers ? The political debate in Israel ? It does neither of those things very well. Because of the way the raid is presented it feels like a real let down after an already very slow build up. What's the connection between the raid and the dance ? The soldier and his girlfriend ? That would be thin. Since we haven't seen both of them very much throughout the movie there is also no investment in the characters. And, since they already admitted in the opening credits that there are things added for dramatization you can't take this as a history lesson either. So, in conclusion I can only say: this was dissapointing.

I have no idea where they thought they were going with this. It could have been an excellent political thriller portraying one of the most brilliant commando raids in history but instead all we get is some artsy soup of a political commentary. The build-up to the actual raid is 97% of the movie and then when it actually happens [spoiler]it's intermixed with a horrible modern dance routine[/spoiler]. Most meh movie of 2018 thus far.

Lacks insight, but is well made Written by Gregory Burke ('71) and directed by José Padilha (Ônibus 174; Tropa de Elite; Tropa de Elite 2; Robocop), Entebbe [released in North America as 7 Days in Entebbe] has met with near universally bad reviews (22% approval on Rotten Tomatoes at the time of writing), and while it is without doubt flawed, it's not nearly as bad as has been made out. Telling the story of the 1976 AirFrance hijacking by Palestinian and German revolutionaries, and the subsequent Israeli Defence Force rescue mission (Operation Thunderbolt), the film is presented from multiple points of view; Revolutionäre Zellen members Brigitte Kuhlmann (Rosamond Pike) and Wilfried Böse (Daniel Brühl), Israeli Minister for Defence Shimon Peres (Eddie Marsan), Israeli Prime Minister Yitzhak Rabin (an excellent Lior Ashkenazi), IDF Pvt. Zeev Hirsch (Ben Schnetzer), AirFrance 1st Engineer Jacques Le Moine (Denis Ménochet), IDF Lt. Col. Yoni Netanyahu (Angel Bonanni), and Ugandan President Idi Amin (Nonso Anozie). The problem is obvious; the film covers every point of view except the most important one; the Palestinian. Indeed, the only Palestinian given any kind of development is a fictional character played by Omar Berdouni, who talks of Israeli tanks driving over a car in which his family were trapped. And there are other strange omissions; the death of Dora Bloch (Trudy Weiss), murdered on Amin's orders after she was released in Kampala, is never mentioned, and Wadie Haddad is nowhere to be found. Additionally, the film doesn't have much of contemporaneous relevance to say in relation to the Arab-Israeli Conflict, other than alluding melancholically to the self-propagating nature of the violence, and the unlikelihood of peace (the closing legend points out that after he pushed for negotiations in 1995, Rabin was assassinated by a Jewish extremist). However, it's aesthetically very well put together, and the juxtaposition of Thunderbolt with a Jewish dance number works much better than it has any right to. True, it doesn't get to the heart of the matter by any stretch of the imagination, and it could be accused of taking a pro-Israeli stance, but it's enjoyable enough, and worth a look.

Weird! I was looking forward to an exciting ending after an average build up and then suddenly Billy Elliot came on waving his arms around after self flagellation.

What should have been a gripping tale never translated to the screen. This was slowly paced, with little dramatic heft. For the most part, I was really quite bored.