Film Critic:
The four soldiers at the center of Samuel Maoz's Lebanon, which opens on the first days of Israel's 1982 invasion of Lebanon, are confined to the cramped, sweltering interior of a rickety tank nicknamed Rhino. And so are we. With the exception of two book-ending shots of swaying sunflower fields, the narrative remains grounded inside the tank; four other men will enter the tank at one point or another but the only vision of the outside comes with crosshairs from the bombsight. Indeed, one has to wonder if those crosshairs weren't permanently etched on every Israeli soldier's eyes during the war.
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