Tom Huddleston(Time Out): The successively gaining in force emotional effect is devastating: the eventual scenes are as angry, as famous, as overwhelming as anything modern cinema has to make an ~.
Dana Stevens(Slate): So overpowering is this film's simple, horrible, and within a little entirely true story that it's hard to get enough distance on 12 Years a Slave to poke at its interior workings.
Chris Vognar(Dallas Morning News): Every exhibition of 12 Years a Slave, and towards every shot, conveys some penetrating truth about America's original sin.
David Thomson(The New Republic): It is a film that necessity and education demand considering.
Mick LaSalle(San Francisco Chronicle): It provokes recognition in us of the very inclination of darkness. It makes the that cannot be imagined imaginable.
Moira MacDonald(Seattle Times): "12 Years a Slave" isn't flowing to watch, and it shouldn't have ~ing; it's one man's catastrophe, but it's also the tragedy of countless thousands of souls hackneyed down, literally and metaphorically.
Matt Neal(Cinema em Cena): This is a justly impressive piece of filmmaking.
Matthew Toomey(ABC Radio Brisbane): It's a weighty , depressing film but it's also one that's hard to question.
Anthony Morris(The Vine): McQueen has used this draw ~-documentary style of filming before, still this is the first time it's seemed outline to his story.
Tom Glasson(Concrete Playground): An firm, uncomfortable and entirely necessary modern work of the first class.
Adam Ross(The Aristocrat): There is a mind that Slave has topped the most judicious of list of 25 major film critics and won the Golden Globe towards Best Picture. Miss it at your possess loss.
Annette Basile(FILMINK (Australia)): The point of compass from Steve McQueen is visceral, the script from John Ridley doesn't solitude a word, and the performances are, on the outside of exception, brilliant.
Paul Whittington(Irish Independent): Using conference sparsely and shocking images relentlessly, McQueen's movie brilliantly explores the implications and devise of slavery, and debunks some of its added cherished myths.
Leigh Paatsch(Herald Sun (Australia)): Minds direction be opened, perhaps even changed by what they see (and indeed, be impressed) here.
Jonathan Kiefer(SF Weekly): Fortunately, 12 Years a Slave is not rightful a minor vanity project for Brad Pitt, who is united of its producers, but also a stout step forward for director Steve McQueen.
Jim Schembri(3AW): The pellicle imparts the casual cruelty of drudgery with full force without having to resort to vivid portrayals of on-screen brutality. The film certainly has those, but they are sporadic, well-judged and serve the larger record of a man starved of exemption from restraint..
Jason Best(Movie Talk): 12 Years A Slave tackles America's original sin of slavery with unflinching honesty, leaving in the hue Hollywood's previous efforts to discourse the subject, from Gone With the Wind's rose-tinted myopia to Django Unchained's stab-and-irony-soaked fantasy.
Bruce Bennett(Spectrum (St. George, Utah)): Generally greater degree of concerned with making its audience shrink than with forging an indelible mark by pressure on the soul.
Matt Glasby(Flicks.co.nz): It may well be the greatest film ever made well-nigh slavery, but that says more surrounding the movie world than the operate itself.
Damien Straker(Impulse Gamer): In its sketch of violence and spectatorship, it corsets in the mind.
Andrew L. Urban(Urban Cinefile): McQueen shoots extended takes in which the action (for example in the emotional action, or purpose.) is the focus, involving us profoundly and meaningfully in the characters, their surroundings and the broader context. The striking is strong.
Louise Keller(Urban Cinefile): Involving and disturbing by an inspiring central performance by Chiwetel Ejiofor, this is a ballsy pellicle with themes every bit as confronting being of the cl~s who those broached by McQueen in his earlier films Hunger (2008) and Shame (2011)
Stephen Carty(Flix Capacitor): 12 Years A Slave boasts a numeral of quietly powerful moments, but it doesn't dare much to think about. Though Ejiofor delivers a observable lead performance, the film proves emotionally obscure.
Simon Miraudo(Quickflix): The fortuitously named [Steve McQueen] follows up his anterior pictures Hunger and Shame with this similarly hell-of-the-stomach venturing, queasy-making drama
Mark Kermode(Observer [UK]): Ejiofor proves himself a master of natural understatement, the clench of his teeth and slightest breaking of the lips speaking volumes.