Tockinit not horrible nor great

MamaGravity good back-story, and good acting

Clarissa Mora The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Ariella Broughton It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Horst in Translation (filmreviews@web.de) Foxtrot is a new European movie in the Hebrew language that premiered back in 2017 and was Israel's official submission to the Academy Awards last year where it managed to make the final 9, but eventually came short on the nomination. it runs for almost 2 hours and was written and directed by Samuel Maoz, his second full feature film. The cast includes mostly Israeli actors with Lior Ashkenazi being the standout easily. You can divide the film into three segments basically. Number one is the father's story, number 2 is the young man's story, number 3 is the parents' story with more focus on the mother this time. I would say that the first segment is really great, definitely above 6 out of 10, number 2 is okay and number 3 is solid, but does not add as much as I wanted it to and eventually the main reason why I did not give it a higher rating overall. This is the story of a family's reaction to the death of their son who is working in the military. Just like his father did, which is among the most interesting parallels the film has to offer. I also l´really liked the parts very early on when the family is informed about the death as well a bit later when they find out about a "terrible" error that happened. The latter is probably the most gripping moment of the entire movie and that means quite something as the film has to offer quite a few of these. As for the middle part, it took a while to really draw me in, but when it does, then it did really well. The parallel between the young men measuring the time with the help of this tin can and the tin can inside of the car falling out and resulting in tragedy is really memorable. Sadly, as good as this escalation moment was, it also felt a bit too much with what happened with the Feldmann son earlier and how it's not just tragedy around his family, but surrounding him too. This becomes especially clear when he is called out of action at the very same time they talk about the event to the investigator. Well, there isn't too much investigation. In the middle part, the film lives through the suspense if the Feldmann we see in there will live or die and that was done pretty nicely, even if we actually know that this was not a military operation, but the post we heard about earlier, so most likely he is going to live. Nonetheless, the suspense, maybe fear, could be felt in the audience. As for the last segment, I am really not sure what to think of it. Initially, I thought it was non-chronological and the period of time in-between when they don't know yet their son is alive. But with the very final shot, it actually could have been the very last scenes chronologically that we see about the entire movie. The woman's role there (with her being unconscious early on) lets me think that it was not in-between the wrong information and positive solution. The talk about the potential abortion from the mother makes it even more unclear. And we did not even touch the potential subject of dream sequences and fiction. Perhaps it is necessary to see the entire film again to understand it better in terms of context. Maybe that final shot with another crucial event happening (not gonna spoil anything here) was also a bit over the top in creating additional drama and eventually it is just too much happening, even if it's war times. The camel parallel also did not feel spoton I must say. Same about the dance sequence that is included on two occasions, the first felt somewhat right, also interesting with the addition of music, but the last not so much and I did not see the general significance therewhere I would say it makes sense that the overall film is named like that. That's just minor criticisms though. I really wish the film could have kept the level of quality overall that it starts with in the first 45 minutes. It's a brilliant character study there with Ashkenazi giving an outstanding performance of a man stuck between his grief and aggression. He is also linked directly later on to the bizarre erotic comic book sequences and it was quite a challenge to make these work, but I believe Maoz managed to succeed and that makes the film even more impressive. So all in all, a very tense watch with some truly great moments for sure. It's nice to see quality films coming from Israel again these days, there seems to be some great potential in recent years, also with almost all of these having some kind of political/war background, which is a genre that always needs new impressve works. Watch this one, you will not regret it.

Howard Schumann Winner of the Silver Lion at the Venice International Film Festival and Israel's submission to the 2018 Oscars for Best Foreign Language Film, Israeli director Samuel Maoz's ("Lebanon") brilliant and confounding Foxtrot reveals itself less by narrative than by images: A narrow road in an empty stretch of desert, a lonely camel meandering through a checkpoint, a young recruit's gyrating dance in the middle of the road, soldiers in a panic opening fire. Though the images imply condemnation of the Israel Defense Forces (IDF), the war, and Israel itself, Foxtrot is not an overtly political film but a family drama that has universal meaning to anyone who has suffered the unexpected loss of a loved one. The title suggests that life unfolds like a series of dance steps: Forward, side, and back in a preordained pattern, only to end up in the same place in which it began.Shown in the format of three connecting stories, in the first segment as Dafna Feldmann (Sarah Adler, "The Cakemaker") opens the front door of her upscale high-rise Tel Aviv apartment, she immediately knows that the look on the faces of officers of the IDF can mean only one thing. "Mr. Feldmann," says the first soldier to Michael (Lior Ashkenazi, "Norman: The Moderate Rise and Tragic Fall of a New York Fixer") who is lurking in the background, "I'm sorry there's no easy way to say this. Your son Jonathan (Yonaton Shiray, "A Tale of Love and Darkness") was killed tonight in the line of duty." The officer does not say anything about the circumstances of his death, only that he had "fallen in the line of duty," a military euphemism that puts a brave face on another in an endless stream of deaths to report on.Speechless, almost catatonic, Michael is told to keep drinking water by the officer who programs his cell phone to ring every hour to remind him. A successful architect, former tank commander, and the son of a survivor of Auschwitz, the tragic news unleashes the hidden rage that Michael has carefully kept from public view, directing it towards the unfeeling military bureaucracy. Fate, Maoz suggests, is not an unyielding emanation from God, but an innate part of a people's legacy passed down through generations. When we learn that his family has roots in the Holocaust, we understand that his paralysis of feeling can be traced to a childhood of quashing his emotions, a situation that creates, "a new generation of victims." Though we can feel Michael's distress, his flashes of cruelty, especially towards his dog, are off-putting and perhaps designed to keep us at an emotional distance.The second segment takes place in a desolate military checkpoint known as "Foxtrot," a supply road used by Palestinian cars and wandering camels, located somewhere on Israel's northern border. Moving from black comedy to tragedy, the sequence is an almost dreamlike and surreal allegory that provides an absurdist view of the war. The young soldiers, including Michael's son Jonathan, form a four-man guard who have become increasingly bored with the daily routine. They pass the time in their shipping container which serves as a barracks by telling each other stories about their home life, eating unappetizing meals out of cans, and rolling an empty tin of canned meat towards the wall to see how fast their container is sinking into the mud.In one of the most indelible moments of Foxtrot, Jonathan hugs his rifle and performs an unencumbered joy-filled dance in front of the barracks, a scene reminiscent of Galoup's wild, uninhibited dance that ends Claire Denis' masterful "Beau Travail." Breaking the interminable quiet are cars carrying Palestinians seeking to pass through the checkpoint. Travelers are compelled to sit and wait for long periods of time and, in one instance, a couple dressed for a wedding are humiliated by being forced to stand outside in the pouring rain while the soldiers take their time checking their IDs. When an act of sudden violence against unarmed civilians occurs, an IDF commander covers it up, telling the perpetrators that they will not be punished, that unfortunate things sometimes happen in wars.In the third sequence, after the passage of several months, the film returns to the Feldmann's apartment as Michael and Dafna, now living apart, meet to remember what would have been Jonathan's twentieth birthday. Still processing their grief, Dafna strikes out at Michael for his weakness that she alleges caused Jonathan's death, but the music of Arvo Pärt's "Spiegel im Spiegel" tells us that, underneath the anger and the grief, their love is graced by the truth of acceptance and reconciliation and that, in the poet Rumi's phrase, "the night ocean is filled with glints of light." Foxtrot has been roundly condemned by Israel's Minister of Culture and Sport, Miri Regev, (who hasn't seen the film) for its "self-flagellation and cooperation with the anti-Israel narrative," calling it "a work of treachery," and asking for the state to end funding for films that can be used as "a weapon of propaganda for our enemies."In spite of the Minister's comments, Foxtrot won eight Ophir Awards (Israel's Oscar equivalent) including awards for Best Picture, Best Actor (for Ashkenazi), and Best Director. In an interview with The Times of Israel, Maoz responded to the critics by saying that the film was simply meant to open discussion and create dialogue, "If I criticize the place I live," he said, "I do it because I worry." After the recent killing of at least 15 unarmed Palestinians by Israeli soldiers near the barrier separating the Gaza Strip from Israel, an act for which Israeli Prime Minister Benjamin Netanyahu offered neither sympathy nor remorse, perhaps it is time for all of us to worry.

David Ferguson Greetings again from the darkness. The most dreaded knock on the door. Every parent or spouse of someone who has served their country during war time fully understands that indescribable feeling of opening the door and seeing uniformed soldiers waiting to deliver the worst possible news. That knock is how Israeli writer/director Samuel Maoz (LEBANON, 2009) chooses to open his film. Knowing her son Daniel is dead sends Daphna (Sarah Adler) into hysterics, and the experienced messengers know to administer something to help her relax and sleep. Her husband Michael (Lior Ashkenazi, FOOTNOTE) stands stunned, mostly unable to respond.What follows is one of the most stunning first Act performances we've seen on the big screen. That is not hyperbole. Mr. Ashkenazi is remarkable over the first approximately 20 minutes as a parent in shock, experiencing devastating grief. The news is debilitating to his physical and mental being. Additionally, the filmmaking during this segment is quite something to behold. The close-ups add a heavy dose of humanity, while the terrific overhead camera angle presents Michael as trapped, while also adding to the disorientation that is so key. The one-hour alarm set to remind him to "drink some water" would be humorous if not for the fact that its structure prevents the man from totally breaking down.The second Act takes us away from Daphna's and Michael's contemporary Tel Aviv apartment and plops us into a remote military outpost where 4 young soldiers are charged with guarding a road passage. Thanks to this boring assignment, the young men find ways of adding interest to their days: timing canned goods that roll down the ever-increasing slope of their sinking-in-the-muck domicile container, raising the bar for the periodic camel that lopes by, and giving the rare passers-by a bit of a hard time as their ID's are checked. 'Of course, this is war territory, so when something goes wrong, it goes terribly and horrifically wrong.Our final Act takes us back to the original apartment as Michael, Daphna and their daughter are working to reconcile their feelings and somehow re-assemble the pieces of their shattered lives ... though the shifts from that heartbreaking first Act are what sets the script apart from so many movies. Cinematographer Giora Bejach continues the exemplary camera work during this curious segment that leaves us feeling somewhat uncertain at first.This family is stuck in the war that never ends. Like so many in the area, they carry burdens, guilt and grief that, like the war, also never ends. That first Act is transcendent filmmaking and acting, and the three acts work together as a prime example of the melding of visual and emotional storytelling. Most of the film takes place in one of two locales, and it's the subtleties in each shot that tell us what we must know. And yes, the foxtrot dance does play a role, but like most of this film, it's best discovered on your own.

figaropes Foxtrot is a movie about fate, life, death, war, youth, love and dancing. Flawless beauty resides in almost every aspect of the film; the amazing direction, vivid cinematography and incredibly intense acting perfectly portrait a fabulous 3-act tragedy. This film is a joy to watch and a terrific work of art.