Inspired by a true moment in history, this biographical thriller from Jose Padilha has some nicely executed tension in places and a bold choice of book-ended dancing but isn’t as thrilling as you’d expect it to be.
Set over one week in 1976, we see the planning and execution of Palestine ‘freedom fighters’ hijacking a plane and keeping the passengers hostage at an airport terminal in Entebbe, Uganda. Hoping to lead and show they’re not radicals or dangerous is Wilfried Bose (Daniel Bruhl) who doesn’t reckon on the Israeli government strategising a combat response to their demands.
Considering the events being shown to us are based on real life ones, the film never really lifts off and becomes as deeply tense as it would have been in that scenario for the captives. There are some brief elevations of tension that help keep some interest alive, but these are at the beginning and end of the film, which leaves a hefty middle portion to sit almost stale-like.
For a film that’s tackling events previously shown in other TV films, this one bravely includes a sequence to differentiate itself and stand apart. This is the opening dance number that then returns nearing the end and becomes a unique bookend for the movie, that I did find to work well. It mirrors the alarming nature of what is happening in Uganda and is exceptionally edited, giving the film a much needed sheen of atmospheric style.
More than anything, this is a movie that doesn’t just slow burn like great thrillers do, but just feels slow. Come day four and five, ‘Entebbe’ begins to lull and dare I say ache with boredom but does pick up its pace and as day six and seven roll around, the film had me more attuned and awake. There wasn’t much emotional attachment within the film and that’s maybe why the film feels slow, they try showing us a dancer and her soldier boyfriend but it comes to late to capture any connection to them and generally, there’s no one really to root for.
Bruhl is interesting in his role as someone wanting to fight against the powers of Israel and free his people, it also lets him briefly shine as he desperately hopes to step away from the expectations of society viewing the fact he’s German and taking prisoners, as the unfortunate parallels it has to WW2 Nazism, but it’s not his best performance by any stretch. Rosamund Pike is great in this, she has such expressive eyes which are full of guilt, sadness and ultimately, a realisation of the situation she’s ended up in. A scene with Pike at a payphone rings with softly powerful words and a simple yet effective static shot over this scene really hits home the problem Brigitte Kulhmann has gotten into.
The issue of the film is that there are no sides to take and the complexity of the still ongoing Palestine and Israel conflict; sees this film mired with frustrating emptiness, only briefly saved by some snippets of style and tension.