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Although it has its amusing moments, in eneral the plot does not convince.

Simple and well acted, it has tension enough to knot the stomach.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Worth seeing just to witness how winsome it is.

I was looking forward to this having found Omid Djalili funny on TV. But I switched off after 5minutes because of the vile language. I am not a prude and don;t mind the odd word, but it seemed to be almost every other word was a curse and the use of the C word totally unnecessary.It seems David Baddiel cannot do comedy without foul language or hiding behind a much funnier partner.So give this film a miss if you are offended by crass, gutter humour as I am.Awful, terrible, silly waste of good acting talent by Mr Baddiel I say!

I watched this on BBC I player last evening (Jan 2012) as it had been shown on the BBC. Enjoyed it immensely, although some of the lesser characters seemed to be quite stereotypical. The let down for me was the very limited exploration of the Jewish community and how they would accept (or otherwise) a person with this background. That said a polished performance from Matt Lucas. Omid Djaili gives real credence to the main character and is very believable, very much the real star of the Movie. David Badiel (Author) has done a great job on the script and makes the dialogue more than believable. I recommend this as viewing for all despite some of the flowery language (very much in context) I would suggest some of the Dialogue (racist) is occasionally used for dramatic/comedy effect rather than as necessary to the plot, although it is never over the top, and would be hard pressed to be taken as seriously offensive by anyone except the most extreme.Enjoyable and thought provoking worth the watch.

Viewed at the Festival de Film 2011, CannesOmid Djalili is a brilliant comedian. So is David Baddiel, the writer. But The Infidel's biggest weakness is its contrived and less than fully functional script: a proud Muslim man discovers he's actually Jewish. Roll on the floor clutching your sides? Afraid not.It's not that the film's heart is in the wrong place, but it wears its liberal credentials and heart so openly, flaunting them on both sleeves, so desperate not to offend it takes no risks whatsoever and comes over as, at best, anodyne. Yes there are some good laughs, but they are occasional and not frequent enough. Instead, we get the author using the characters to give a wave-the-index finger lecture about the need for all of us to get on and look below the surface that is religion and judge the person. Problem is, for many people religion is more than surface deep but the core of the individual, so all reality is missing from this film. Just pause for a second and consider how a strictly religious community would most likely react to discovering one of its members is actually batting for the other side, as it were.Well, fair enough, this is meant to be a comedy, which brings me back to my main criticism: it's not that funny. Omid Djalili has his moments, rolling his eyes and floundering around as his whole life and identity is turned upside down. He also has the perfect white, liberal, Guardian-reading, Channel 4-viewing person's ideal of the perfect Muslim family. Like I say, contrived to the nines.This is an audience that doesn't need this film because it's already presold on it. Will the film change the mindset of the less tolerant members of the community? Of course not, because they won't go see it anyway. As entertainment it falls flat because it's too preachy, too well intentioned, telling you to eat your broccoli and explaining why it's good for you. In fact, if all concerned were not part of the charmed inner circle of British film making, The Infidel would never have got made to start with, any decent producer rejecting the script at the outset.

Omid Djalili plays Mahmud, a decent, easy-going family man of very moderate Islamic views (does not pray five times a day, does not really fast on Ramadan, and takes more than a sip of alcohol now and again). It is the highly sympathetic and humorous Djalili, with his wondrously expressive face, that holds the movie together.Mahmud thinks he is a Muslim through-and-through until he is stunned to discover that he was born of Jewish parents and was adopted, weeks old, by a Muslim family. A sincere man, he wants to find his birth parents, and this immediately throws him into the nexus of two worlds: Muslim and Jewish. The possibilities are endless. Sadly, while the movie produces some very sympathetic sketches, and it is good for a laugh or two, you will regret what might have been.The fundamental premise of the movie is artificial. First, Islam does not recognize adoption as we understand the concept. Second, Muslims in general and Pakistanis in particular live in a semi-tribal system of extended families, so there is no chance such an adoption would be a secret. Third, the rabbi's behavior, when Mahmud tries to visit his very old and dying birth father, is inexplicable by any Jewish principles. Finally, Islam is a proselytizing religion, so having been born Jewish would not make Mahmud any less Muslim.Do not imagine, therefore, that by watching this movie you will come to any deeper understanding of Islam or Judaism. In the end, the severely artificial premise of the movie corrupts it irretrievably.You should watch the movie for the performances, all which are very good. You will have a laugh or two. You will enjoy it. Then forget it.