In 1976, an Air France Flight was hijacked and taken to Entebbe, Uganda and held hostage in an attempt to force the Israeli government to release a group of known terrorists. This led to one of the most daring rescue missions ever attempted.
Unfortunately, at times, 7 Days in Entebbe felt like 7 days watching it, as the film failed to tap into the natural suspense that encompassed the real life situation.
Wilfried Böse (Daniel Brühl) and Brigitte Kuhlmann (Rosamund Pike) were two German activists/terrorists who helped mastermind the hijacking, but they seemed to have more of a fluffy, kind-hearted side to them. And they weren’t Nazis for sure, as they said several times, despite separating the Jewish people from the rest of the group.
The rest of the terrorists were from Palestine and they were trying to receive not only money from Israel, but also the freedom for other Palestinian terrorists. The battle between Israel and Palestine rages to this day, despite plenty of attempts to bring the hatred to an end.
The film bounced around from Wilfried and Brigitte to Prime Minister Yitzhak Rabin (Lior Ashkenazi) to soldier Yoni Netanyahu (Angel Bonanni). There was really no one for the audience to cheer for. The film does try to humanize Wilfried and Brigitte but neither of them caught my attention outside of the fact that I have always enjoyed the work of Pike and, particularly, Daniel Brühl. The lack of a protagonist for this film really limits how the audience is able to connect and harms the narrative.
The pacing of the story was slow and made the whole story boring. Then, when the actual rescue mission was under way, it was underwhelming.
The best part of the film was a very strange dance/musical number that started the film and was intertwined within the rescue mission itself. This was energetic and entertaining, even if I had no idea why it was included or what it was meant to represent.
This does not reach the limits that this story could have reached and turned one of the most amazing rescues in recent history as a blink-and-you’ll-miss-it typical third act plot point.