I found this comment, though, to be just as devasting as everyone else's assault on the film for equalizing Jewish revenge and Palestinian terrorism:
If he had told the story straight, without such hedging, and at half the length, it would have borne far more conviction. At the least, we would have been spared the sight, toward the end, of Avner having sex with his wife while images of the hostage ordeal flood his weary brain. How’s that? Is he fathering new life to replace the dead, or getting off on the sound of German helicopters? What a curious arc this movie has described: starting in terror, and ending up on the very brink of kitsch.
That was Anthony Lane in the New Yorker.
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