Structurally, these three storylines feel grossly out of balance. The film's open is probably the apex of its freshness and gives way to some kinetic title cards before tracking over to the Israeli commando who is watching the performance from afar. The push to this commando seems to signify that they will be a central character to the film's narrative, but we don't revisit the commando or the dancer until 40 minutes into the film. Even then, the portions of this particular narrative never manage to elevate the story in any significant way. The dancer and the commando are tertiary to the narrative and the juxtaposition between the operation and the dance is used too many times — during the practice runs and the actual operation. The flip side narrative following the Israeli government should match the time spent examining the lives of these terrorists, but it's only given fleeting moments and scenes which are peppered throughout the meatier terrorist plot thread.

Visually, there's really nothing special about this film. The lighting and cinematography have a very made-for-TV quality, and the direction is mostly docu-realist handheld that isn't warranted and doesn't enhance the story. The airplane hijacking and other moments of tension really never reach the heights they should, and all the performances are disappointing, particularly Pike and Brühl. Only Denis Ménochet, who also starred alongside Brühl in Inglorious Basterds, manages to shine here as the kidnapped airplane engineer. He brings a lot of pathos to his character and to the hostage situation. Seeing him act alongside Brühl was somewhat interesting because of their connection to Inglorious, which subtly reinforces the Nazi/Jew dynamic the film pokes at and was mostly likely not intentional by any of Entebbe's creatives.