59
Metascore
15 reviews · Provided by Metacritic.com
- 90Time Out LondonTime Out LondonThe initial stages of this epic movie are somewhat stodgy, but once Attenborough achieves his momentum there's no holding him. The performances are excellent, the crowd scenes astonishing, and the climax truly nerve-wracking. An implacable work of authority and compassion, Cry Freedom is political cinema at its best.
- 80VarietyVarietyCry Freedom personifies the struggle of South Africa's black population against apartheid in the evolving friendship of martyred black activist Stephen Biko and liberal white newspaper editor Donald Woods. It derives its impact less from epic scope than from the wrenching immediacy of its subject matter and the moral heroism of its appealingly played, idealistic protagonists.
- 63Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertFor the first half of this movie, I was able to suspend judgment. Interesting things were happening, the performances were good and it is always absorbing to see how other people live. Most of the second half of the movie, alas, is taken up with routine cloak-and-dagger stuff.
- 60The New York TimesJanet MaslinThe New York TimesJanet MaslinBewildering at some points and ineffectual at others, but it isn't dull. Its frankly grandiose style is transporting in its way, as is the story itself, even in this watered-down form.
- 60Washington PostRita KempleyWashington PostRita KempleyThe proficiency of the actors powers the movie despite a stiff script and Attenborough's preference for choreographed crowd scenes over intimacy.
- 50The GuardianThe GuardianA well-meaning film about the white liberal experience in South Africa – but, if you want to know about Steve Biko, look elsewhere.
- 50TV Guide MagazineTV Guide MagazineThe film is talky and much of what is said is didactic, but it is never really preachy. Washington brings tremendous intelligence, dignity, and charisma to his Biko. Kline is also very good as the editor who goes from talking a good liberal game to living it, giving up virtually everything so that he can make the truth known about Biko.
- 50Washington PostDesson ThomsonWashington PostDesson ThomsonAttenborough's aims are more academic and political than dramatic. By following an initially wrongheaded white character, he clearly wants to reach out to similar audiences. Cry could have reached further.
- 50The New YorkerPauline KaelThe New YorkerPauline KaelWhen Attenborough starts crosscutting from the escape to Woods' flashback memories (with bursts of choral music), the movie is dumbfounding. It looks as if Attenborough staged scenes and then didn't know what to do with them, so he stuck them in by having the escaping Woods think back. An every time Biko appears in a flashback our interest quickens; this man with fire in his eyes commands the screen -- Denzel Washington is the star by right of talent.