Incannerax What a waste of my time!!!

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Janis One of the most extraordinary films you will see this year. Take that as you want.

SnoopyStyle Eyal is an Israeli Mossad agent and an expert assassin. His supervisor gives him an unwanted assignment to babysit Axel Himmelman, the grandson to a notorious Nazi. He rather pursue Arab terrorist than settling old scores with dying Nazis. He is pretend to be a tour guide as Axel goes to Israel to visit his sister Pia. Pia is estranged from her parents and living on a kibbutz. Axel is a liberal homosexual who challenges Eyal's beliefs and cynical world view.This is a rather slow simplistic movie of peace. It could be something more but the movie keeps things simple. In the end, love will conquer all and can't we just get along? The most interesting part is that it doesn't go too far. It seems to be hinting that Eyal is falling for Axel for parts of this movie. I'm glad that they don't but ending with Eyal and Pia together isn't much better. They have less chemistry than Eyal and Axel. I'm not immune to the idea of a happy ending but this feels a little lacking. It's a partial recommendation for me.

museumofdave This is a film about a man discovering his conscience; it is brilliantly written, as we meet an impassive, chilly killer-for-hire go quietly about his business, who in the course of his work becomes personally involved with the family of his next victim To reveal too much about the plot would be to spoil a viewer's involvement--it is lushly photographed in Israel, in Germany, deals with the residuals of Fascist rule, with sexist preconceptions, with the nature of love; it's subtle set of themes creep up on you after long after you view the film and realize how much of the film could have gone awry with it's complex overlays of interlacing themes and careful mixture of politics and personal stories.

Armand Profond exploration of the relation with the past, subtle description of frustrations structure and analysis of feelings and ordinary expectations.A beautiful film about Israelian realities, about duty and memories, about society and different worlds."Walk on water" is, in fact, a special puzzle. A ambiguous poem about social and personal values, about the significance of gestures and words, about the image of the other who makes our interior universe a deep cage.Every ghost of recent history are parts of a conversation beyond the words.Every symbol of a young society (kibutz, Mossad, hate and fear against Arabs, the German like testimony of Shoah, the tradition versus life, the wait of sense for facts, crimes and errors, the special relation with God and the shadow of Moses, the image of gay in a traditional system and the failure of a way to see the life) are pieces of this fascinating film, a film about love and hope, fight against past and values of present. A film about personal miracle and aspects of yourself search.

Christopher T. Chase It certainly is startling and refreshing whenever you stumble across a non-"Hollywood-ized" movie made for adults that breaks the mold of both mainstream and indie films in a good way. I had heard very little about WALK ON WATER when I happened to catch the previews, and the story piqued my interest immediately.Eyal, (the sullen but ruggedly handsome Lior Ashkenazi), a Mossad operative, has just completed yet another successful mission - the assassination of a well-known Hamas leader. Extraordinarily adept at his calling, Eyal can deal death without batting an eyelash, but dealing with deep-seated feelings and with a failing marriage is quite another matter altogether. However, the reality of his compromised personal life becomes shatteringly clear with the suicide of his wife, Iris (a tragically beautiful Natali Szylman, whom we regrettably see little of in most of the movie.) Bent but not broken (or so he claims), Eyal is ready to throw himself into another assignment, but his boss and mentor, the grandfatherly Menachem (Gideon Shemer) won't hear of it. Instead, he has a "special" assignment for his favorite agent: to get closely involved with the German granddaughter and grandson of a Nazi war criminal who has been secreted away by his family in an undisclosed location.Rather than submit to a psychiatric evaluation, Eyal reluctantly complies and serves as the tour guide to the outgoing and sweet-natured Axel Himmelman (Knut Berger), who has come to visit his sister Pia (Caroline Peters) at the kibbutz where she lives and works.At first, the mix is anything but an easy one; the swarthy, sullen Israeli and the humanistic blond Germans. But together with his vivacious sister, the two "marks" slowly and unwittingly begin to melt the steely exterior of the man charged with escorting them, until the most startling of Axel's personality "quirks" comes to light - Axel is also gay.For the stereotypically macho hawk Eyal, who has barely been able to tolerate what he perceives is Axel's naively altruistic view of the world, this is the last straw. The three of them part company, and on anything but the best of terms.But with a twist in the developments of the case involving the missing war criminal Alfred Himmelman (Ernest Lenart), Eyal finds himself once again sharing the company of Axel. To say that the encounter is life-changing is an understatement, as an invitation to a birthday party for Axel's dad uncovers secrets and lies, and shatters the fragile facades built from a gossamer web of betrayal and denial, not only for the Himmelman family as a whole, but for Eyal himself, who finally achieves a soul-cleansing catharsis from the most unlikely of places and the most unusual of friends.Questioning the most difficult conventions of nationality, ideology, sexuality and spirituality is something that most films, mainstream or otherwise, can find it tough to do when just tackling a couple of these issues. Yet Gal Uchovsky's well-crafted screenplay manages to hit every point at once without getting too preachy or ham-handed, and thankfully director Eytan Fox knows exactly when and how to give the script and the actors room to breathe.The ending seems a little too pat and tidy for my taste, but that is minor quibbling. I just cannot recommend this movie highly enough to both lovers of foreign film and good movies in general. The subject matter is as intricately layered as the use of the four different languages spoken in the movie, (Hebrew, English, German and a bit of Arabic), as is the choice of music (American and Israeli folk and pop leaven the surprisingly engaging soundtrack), and all of it is as involving and enlightening as you could hope for from an intelligent and ultimately uplifting film experience such as this.I look forward to seeing more of the work of both Mr. Fox and Mr. Ashkenazi with great anticipation.