Horror films set in historical or religiously significant locations often carry an added layer of intrigue, and Jeruzalem (2015) makes full use of its setting to deliver a unique found-footage horror experience. Written and directed by Israeli filmmakers Doron and Yoav Paz, Jeruzalem blends supernatural horror with a travelogue-style aesthetic, offering a fresh twist on the zombie/demon apocalypse genre. While the film’s concept and location provide plenty of potential, it stumbles in execution, often relying on tired horror tropes and struggling with its chosen found-footage format.

Plot: Biblical Horror Meets Found-Footage Chaos

The story follows American tourists Sarah Pullman (Danielle Jadelyn) and her best friend Rachel Klein (Yael Grobglas), who embark on a trip to Israel in an attempt to escape their personal troubles and experience an exciting adventure. While in Tel Aviv, they meet a charming anthropology student named Kevin (Yon Tumarkin), who convinces them to visit Jerusalem instead of continuing their vacation in more traditional tourist hotspots.

At first, their visit to Jerusalem is a dream come true. They explore ancient sites, party with locals, and immerse themselves in the city’s history. However, their vacation takes a terrifying turn when an ancient biblical prophecy is fulfilled, unleashing a supernatural apocalypse upon the city. Gigantic demonic entities, reanimated corpses, and winged creatures of darkness emerge as the gates of hell open, trapping them within the city’s walls. Now, the trio must navigate through a rapidly deteriorating situation, seeking refuge while trying to escape a city that has turned into an infernal nightmare.

A Unique Setting That Elevates the Horror

One of Jeruzalem‘s greatest strengths is its use of location. The film takes full advantage of the real-life, ancient setting of Jerusalem, lending an eerie authenticity to the story. The narrow alleyways, towering religious structures, and labyrinthine city streets serve as an immersive backdrop that enhances the claustrophobic terror. Few horror films have used this city as a setting, making Jeruzalem feel distinctive in a genre filled with repetitive locations.

The film also incorporates religious mythology, touching on Jewish, Christian, and Islamic eschatology. The idea of an apocalyptic event occurring in one of the most historically and spiritually significant cities on Earth is an intriguing concept. The Paz brothers make an effort to blend supernatural horror with theological undertones, making Jeruzalem more ambitious than your average found-footage horror flick.

The Found-Footage Format: A Mixed Bag

The movie employs a first-person perspective, primarily through Sarah’s high-tech smart glasses (a Google Glass-style device), which serve as the film’s recording mechanism. This gimmick allows the audience to see the events unfold in real-time, while also providing additional features such as facial recognition, video calls, and online searches that give the film a modern, tech-savvy edge.

While this concept is initially intriguing, it also serves as one of the film’s biggest weaknesses. The over-reliance on the smart glasses limits the cinematography, making many scenes feel visually constrained and disorienting. Unlike traditional found-footage films that allow for some movement and framing flexibility, the fixed perspective of the glasses means that key action sequences are often chaotic and hard to follow.

Additionally, the constant notifications, overlays, and digital disruptions can become distracting, pulling the viewer out of the immersion rather than enhancing it. The film wants to feel innovative with its use of modern technology, but instead, it often comes across as gimmicky.

Characters: Stereotypical Tourists with Little Depth

A good horror film thrives on compelling characters, but unfortunately, Jeruzalem struggles in this department. Sarah, our protagonist, is given a backstory involving personal trauma and overprotective parents, but it never truly translates into meaningful character development. Her decisions throughout the movie are often frustrating, falling into the classic horror trope of making bad choices that only worsen the situation.

Rachel, the best friend, is a more fun-loving and carefree character, but she doesn’t add much depth beyond the “reckless friend” archetype. Kevin, the charming anthropology student, serves as the exposition machine, explaining the lore and mythology behind the apocalyptic events. While he provides some much-needed background information, he ultimately falls into a generic love interest role.

The supporting cast, including local guides and religious scholars, serve their purpose in adding to the mystery but are ultimately underdeveloped. The film’s focus remains on Sarah and her immediate circle, leaving little room for character arcs or emotional depth.

Horror Elements: Uneven Execution with Effective Moments

Jeruzalem offers a mix of jump scares, eerie atmosphere, and large-scale apocalyptic horror. The demonic creatures—giant winged beings that appear to be fallen angels—are genuinely unsettling, and the moments where they emerge from the darkness are among the film’s most terrifying. There is also an unnerving use of sound design, particularly the distant wails of the damned and the guttural growls of creatures stalking the protagonists through the city.

However, the film struggles with pacing. The buildup takes too long, with much of the first act dedicated to mundane tourist activities that, while establishing the setting, drag on longer than necessary. Once the horror kicks in, the film becomes more engaging, but the action can be frustratingly difficult to follow due to the limitations of the smart-glasses perspective.

Additionally, the film often leans too heavily on standard found-footage tropes: shaky camera work, abrupt cuts, and characters conveniently dropping the camera at crucial moments. While these elements are expected in the subgenre, they feel overused here, making some of the horror sequences feel more disorienting than immersive.

A Climax That Falls Flat

The third act of Jeruzalem is where the film both shines and stumbles. As the city falls into complete chaos, there are some truly nightmarish visuals—massive winged demons soaring over ancient structures, panicked citizens transforming into hellish creatures, and biblical horrors unfolding at an epic scale. However, just when the film builds toward what should be a thrilling climax, it abruptly cuts off, leaving many questions unanswered.

Instead of providing a satisfying resolution, the film ends on an ambiguous and frustrating note. While open-ended horror films can be effective when executed well, Jeruzalem feels like it simply runs out of steam rather than intentionally crafting an enigmatic conclusion.

Final Verdict: A Great Concept Weighed Down by Execution Issues

Jeruzalem is a film with an undeniably unique premise and an incredible setting, but it ultimately struggles under the weight of its own ambition. While the idea of an ancient biblical apocalypse unfolding in modern-day Jerusalem is compelling, the found-footage format and underdeveloped characters hold it back from reaching its full potential.

Fans of the found-footage horror subgenre will find some enjoyment in the film’s immersive qualities and moments of effective tension. However, for viewers looking for a tightly crafted horror experience with strong character development and a satisfying narrative payoff, Jeruzalem may prove to be a frustrating watch.

Rating: 6/10 – Unique setting and premise, but hampered by pacing issues and an over-reliance on found-footage tropes