Everyone’s definitely better once Yom Kippur hits and the first bomb falls, but they’re endearing enough on their own during the quiet moments to never truly annoy. Even when things play out exactly as you expect the Paz Brothers find a way to keep it intriguingly dark.Īs for the performances: each gets its job done. The pay-off here is just as eye-roll-inducing as ever, but thankfully not all is lost as the score crescendos into the end credits.
#Who plays omar in jeruzalem movie movie
Any time that happens in a movie hinging on the idea of souls rising from the grave is boring at best. The only thing that doesn’t is lazily adding a subplot about one character’s dead-too-soon relative. They each prove crucial to the climax and while it can feel contrived looking back, it works in the moment. Surprisingly everything we see has purpose so don’t simply dismiss loony “King” David ( Itsko Yampulski) or Omar’s out-of-touch and sometimes lecherous father Fauzi ( Fares Hananya). And no one is above his wrath no matter his/her billing or pay scale. The nighttime setting helps the monsters lurking in the shadows look believable as well as fearsome when least expected while allusions to Jerusalem syndrome and the convergence of multiple Gods in the Old City aren’t just for native color-a Biblical apocalypse is upon them and the Devil each disparate religion shares wants out of his dungeon. It’s too bad the Paz Brothers couldn’t have dove into the dangerous first-person race for survival straightaway a la Cloverfield and let us get familiar with them all at full-throttle because that’s when Jeruzalem really hits its stride visually and psychologically. That said: Act Two blows the first out of the water. But similar to the movie Hostel as far as getting to know the characters and what they seek in life before staring mortality in the face, there’s enough to pique curiosity and wonder who is aware of what. Act One is heavy in exposition as each arrives-the opening credits delivering a literal voiceover narration accompanied by “Vatican-archived” footage of the dead rising to prove why Jerusalem is a “gate to Hell”-and it can get plodding. In usual co-ed horror vacation fashion the girls meet a fellow traveler in Kevin ( Yon Tumarkin) on the plane and get chummy with Omar ( Tom Graziani), the son of their hostel owner, to pair off with, get some local flavor, and open the door to the religious occult/zombie insanity coming. Best friend Rachel ( Yael Grobglas) doesn’t seem to mind. (I love that Dad’s facial recognition loads MySpace while everyone else goes to Facebook despite the joke being about eight years too old.) Why Sarah wears them often enough to not miss any crucial story beats is odd at first, but supposedly they’re set to her prescription and therefore are pragmatic as well as ostentatiously intrusive. One could say the present is more for him than her as it ensures access to Skype and social media so updates are only a button click away. Pullman ( Howard Rypp) to his daughter Sarah ( Danielle Jadelyn) hours before she’s to leave for a trip abroad in Israel. The Paz Brothers open their tale with the apparatus’ acquisition as a gift from Mr. I actually would’ve liked more electronic “glass” intrusions than were used to set it further apart. Doing so is by no means wholly original with the effect proving meets Cloverfield meets Unfriended, but sometimes a slight twist is enough to render a maneuver fresh. But whether that technology was going to stay dead or be reborn has little bearing on Doron and Yoav Paz‘s latest work because utilizing it provides an effective gimmick regardless. Is it coincidence that Google filed a new application to revive Google Glass on December 28th (despite halting production on the prototype in January) just weeks before Israeli-set horror film JeruZalem supplies a 90-minute adventure into Hell through those exact lenses (albeit a pair of fictitious knock-offs)? Yes.
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