What immediately follows, however, is more scary. Yael Grobglas, Yon Tumarkin, Danielle Jadelyn, Tom Graziani, Howard Rypp.The opening scene from this Israeli film is quite frightening, depicting as it does an eerie, brutal exorcism. Camera (color, widescreen, HD), Rotem Yaron editors, Reut Haan, Yoav Paz, Doron Paz production designer, Sharon Eagle costume designers, Ella Shimshoni, Ann-Marie B-O, Dany Bar Shay sound, Yuval Bar On, Itzik Cohen visual effects supervisors, Noam Toledo, Dan Sachar visual effects, Toledo, Sachar stunt coordinator, Dima Osmolovsky line producers, Rotem Levim, Nir Miretzky associate producer, Boris Zeleny assistant director, Dana Libshtein Alon second unit camera, Addie Reiss casting, Rutie Blum. Co-producers, Nir Miretzky, Rotem Levim, Uri Levanon.ĭirected by written by Yoav Paz, Doron Paz. Executive producers, Patrick Ewald, Shaked Berenson. (International sales: Epic Pictures Group, Los Angeles.) Produced by Yoav Paz, Doron Paz. (Israel) An Epic Pictures Group (in U.S.) release of a Paz Films presentation. Among the characters who remain: mental patients suffering from “Jerusalem syndrome,” a psychosis attributed to visits to holy sites. However achieved, the footage is most impressive in scenes depicting the Old City’s deserted alleys after the army has cleared most of the area in a quarantine. The press notes variously cite the use of documentary-crew permitting and guerrilla-style tactics to film at such sites as the Church of the Holy Sepulchre and the Western Wall, where Sarah makes a profanity-peppered wish for the return of her dead brother. In any case, lenser Rotem Yaron creates a reasonable facsimile of a tourist bobbing and weaving through the quarters of the Old City. To avoid having Jadelyn give an exclusively vocal performance, there are occasional moments when someone else will try on the glasses, or they’ll be cast aside to make viewers voyeurs to a sex scene.
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(Apparently, the facial-recognition feature is so good that it even works on the undead.) More than at least some found-footage horror films, the movie attempts to justify its conceit: Early on, Sarah’s ordinary prescription eyeglasses are stolen in a purse-snatching. Most of these events are seen through Sarah’s smart glasses, whose on-screen text the film uses to both expository and comic effect. As Yom Kippur approaches, there are vaguely supernatural portents that this isn’t an ordinary High Holiday period in Jerusalem. A Muslim hostel proprietor, Omar (Tom Graziani), acts as their guide to Jerusalem’s nightlife. Following the flight’s arrival at Ben Gurion Airport, he invites Sarah and Rachel to join him in Jerusalem instead of adhering to their plan to hit the clubs of Tel Aviv. On the plane, Sarah finds herself attracted to an ancient-history buff, Kevin (Yon Tumarkin). Sarah’s dad (Howard Rypp) has given his daughter a present of WiFi-enabled “Smart Glass” specs that allow her to video-chat, snap photos and look at maps. Sarah Pullman (Danielle Jadelyn), a 24-year-old in Los Angeles, is about to leave for Israel with her friend Rachel (Yael Grobglas, “Jane the Virgin”). She’s on the verge of sprouting wings, for one thing.Īfter the 8mm-style prologue, the movie abruptly turns high-tech. The clip shows clerics from several religions uniting to perform an exorcism of some sort in the Old City, where a dead woman has miraculously returned to life, not quite herself. A reel of faux found footage, identified as being from 1972, gives us our first glimpse of the latter gate. “JeruZalem” opens with an ostensible Talmud quote saying that there are three gates to hell: one in the sea, one the desert, and one in Jerusalem. Shot in Jerusalem’s Old City, the largely English-language genre offering makes clever and unsettling use of a p.o.v. gimmick - most of the action is seen from the vantage point of a character’s Google Glass–like eyewear - until the second half falls back on apocalypse- and zombie-movie conventions about as ancient as the scenery. Those itching to pay a visit to 10 Cloverfield Lane could do worse than take a pit stop at this … well, “Cloverfeld”: an Israeli-produced first-person horror film in which the Days of Awe take on a rather literal meaning for two party-ready American tourists.