Tsotsi

Die and let live. The unusual subject of this film is reflected in its disparate style. The semi-dreamlike exploration of lost childhood collides with the obstacles laid out by a gritty crime drama set in the poorest corners of Johannesburg. Though Gavin Hood presents a few scenes in which atmosphere seeps to the surface, he spends most of the film futilely searching for balance. Some almost surreal scenes (the ants) and Biblical references (the last supper) only obscure the director/screenwriter’s intent and clumsily transform the loosely flowing narrative into a series of bizarre scenes that are ultimately connected only by the forcibly appended “grand” message. 50% (27/10/2011)

Getting an Oscar has never automatically meant that its recipient is a top-notch film because the evaluation process was distorted by contemporary criteria and the commercial interests of studio executives who organized the ceremony in the past. Even later, when progressive trends infiltrated the Academy's leadership and the choice was supposed to appreciate the artistic qualities of competing works much more, the decisions were influenced by the conservative perspective of Academy members (usually socially engaged dramas with skillful combinations of noble intentions and sentiment won - for example, comedies and other so-called lighter genres never had much of a chance). A film can indeed be made that exudes the desire for an Oscar, and Thug is that sort of film, because the less real life and genuine emotions there are, the more it corresponds to what is expected from an Oscar-winning film. On the one hand, the film has very high-quality craftsmanship and is set in the problematic environment of a poor slum in Johannesburg. On the other hand, it fails in the credibility of depicting the thought processes and actions of its characters. The small-time crook Tsotsi, with a gang of his buddies from the local gallery, conducts ruthless attacks on defenseless victims in his surroundings. He also has no problem sticking a knife into anyone's belly or pulling the trigger of a gun. One day, even though he doesn't have a driver's license, he steals a car in a luxury neighborhood, seriously wounds its owner, and only later notices a baby in the backseat. Guess what happens next... In my opinion, there is too much emotional kitsch, and there is a lot of Hollywood filler there. The setting in the ghetto is valuable, and the individual characters could be potentially interesting, but considering what was mentioned earlier, the result is worthless. Overall impression: 40%. (04/11/2011)

To film in this setting about a scoundrel who still manages to captivate you despite all his flaws, and to make a film that grips you, definitely wasn't easy, but Gavin Hood pulled it off, and his ensemble cast really carried this movie. South Africa could definitely use more films like this. The unnecessary pathos is a pity. (08/04/2016)

A gritty thriller for breastfeeding mothers and salon gays to talk about afterwards in the sedan chairs between lobster tea and afternoon coffee. (12/02/2013)