Close shines in drama with strong language, adult themes.

The movie really just wants to entertain people.

Amazing worth wacthing. So good. Biased but well made with many good points.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

This was a really cute movie! Very touchy and warm human story. The story that answers a lot of questions we are afraid of: love and hate, judging and forgiving while, opening some very serious taboo topics. Also, it suggests the pattern on how can the good person become bad and vice-versa. It involves emotions rather than a twisted plot, so while sucking you in, the movie moves you pretty much. Excellent acting and really good casting, especially on the main character! Clever development of the characters and their mutual relations in the movie is pretty good! I would highly recommend this movie to anyone, it is hard not to appreciate it.

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.

This is a gripping and fascinating Israeli film from director Eytan Fox about a cold-blooded Mossad assassin, Eyal (Lior Ashkenazi), and his total transformation. It features some splendid location filming, including a very modern Tel Aviv, along with Istanbul and Berlin.The film opens with a chilling assassination of an Hamas commander out for the day in Istanbul with his family. Eyal poses as a fellow tourist yet dispatches the Hamas man with a Bulgarian style, 'accidental' injection while passing him by the docks (a bit like the infamous one on London in the 1970s).The assassin has a troubled personal life, his wife committing suicide when he arrives back. But this is when the film gets interesting; Eyal's commander in Mossad is Menachem (Gideon Shemer), and he now sends him on a special mission to locate an aged former German war criminal, Alfred Himmelman (Ernest Lenart), which basically involves posing as a tourist guide to a brother and sister, the latter now living on a kibbutz.The kibbutz is the antithesis of Eyal's normal life – communal living, a sort of watered down socialism, not-to-mention awful Israeli folk music and dancing. Also, the grandson of the war criminal is a total leftie and homosexual, seducing the odd Arab along the way. You can imagine how the tough-guy, Bruce Springsteen listening hard man reacts to that.For me, the best part of this excellent film is when Eyal, attending the birthday party of the war criminal's son in Berlin, is confronted with the man he is supposed to 'terminate', Himmelmann. In a gripping, chilling scene reminiscent of Marathon Man, the ancient war criminal is brought into the party, accompanied by a drip. You want to shoot him there and then, but, alas, Eyal has 'moved on'.The script is brilliant, and the main protagonist undergoes the classic transformation, in the end becoming great friends with Axel and marrying his sister.Well worth watching.

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.