Norman Oppenheimer (Richard Gere) is presented as a “fixer,” someone in New York City who can make connections and get things done.  He’s a small time political operator who makes a connection with an Israeli politician (Lior Ashkenazi) that elevates him, for a time, to the big leagues.  But it will take all of Norman’s resources and will to stay afloat in these dangerous waters, even though he tells his friend Philip Cohen (Michael Sheen) he’s a “good swimmer.”

Joseph Cedar’s film is professional in every way, nicely photographed and well acted.  Cedar wrote the film as well, and that is where he disappoints.  Norman is very precise, formal and even pedantic about many things and relationships, but we never get to see what makes Norman Oppenheimer tick.  He lies to everyone, invents things about himself, tells people what they want to hear and rarely gives the audience any reason to root for him.  He’s a con man.

The weird thing is that Norman doesn’t seem to profit from being a con man.  He doesn’t bilk anybody out of anything; he seems to genuinely want to help people get what they need, deriving contentment from being the middleman.  But that doesn’t alter the fact that he’s a con man.  More telling, he’s a stupid con man; he meets a woman on a train and questions her because that’s what he does.  But then she questions him and his truthful answers lead directly to his demise.  The film sets this up as a mystery but it was crystal clear that he was framing himself, even as he is oblivious to the danger.

I didn’t like Norman Oppenheimer and I don’t like Norman.  I’m not sure what writer-director Cedar intends with this tale.  It isn’t very compelling and it didn’t raise any sympathy for its main character.  Norman Oppenheimer remains mysterious, enigmatic and foolish throughout the film; I didn’t need to spend two hours with the guy.  ☆ ☆.  13 May 2017.