Inspired by the terrorist attack that took place during the 1972 Olympics, Steven Spielberg's political action thriller, Munich, is a film that collapses under the weight of its ambitions.
This is not the first time that Spielberg, as a director or producer, has given us a moral lesson in a historical framework. With a few exceptions, notably Schindler's List and Saving Private Ryan, they are disappointing.
Munich, which offers a philosophical discussion on the ethics of revenge, fares better than most Hollywood action thrillers which often demonise anyone non-American. But do we really need an almost-three-hour lecture on the simple truth that an eye for an eye does not lead to peace?
The first half of the film, which comprises mostly action and suspense sequences edited in breakneck speed, is thrilling. Spielberg is a master at toying with the audience.
Shortly after the kidnapping and death of the Israeli Olympic team, a small unit of five undercover Israeli agents is assigned to seek revenge on the 11 Palestinians allegedly responsible for the attack. The film then serves up scene after scene of revenge bombings and cold-blooded murders.
All goes well until the leader of the Israeli team, agent Avner (Eric Bana), starts to question his own actions. Some of his assassination targets, such as a chatty scholar, an elderly writer and a loving father, just don't seem to be evil.