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Shepherds and Butchers

✭ ✭   Read critic reviews

South Africa, United States, Germany · 2017
Rated R · 1h 46m
Director Oliver Schmitz
Starring Steve Coogan, Andrea Riseborough, Garion Dowds, Marcel Van Heerden
Genre Drama

Near the end of apartheid in South Africa, seven black men are shot by a young white prison guard. A British lawyer is assigned to his case and struggles with the client's seemingly motiveless crime. An opponent of the death penalty, he sets out to prove that the shooting was a result of a traumatic work environment.

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What are critics saying?

50

Variety by Guy Lodge

Dowds’ harrowed, haunted performance as a boy overwhelmed not just by the wolves to which he has been thrown, but the ones he claims have unconsciously emerged within him, gives the film its anxious emotional center.

40

The Guardian by Henry Barnes

Shepherds and Butchers doesn’t know which it is: the twisty legal drama that’s going to herd us through the issue or the ferocious expose, laying out the quotidian grimness of systemic death. It’s better at the latter. Even though much of the action is penned in the courtroom, the horror – and the interest – are played out in the past.

50

The Hollywood Reporter by Jordan Mintzer

This well-intentioned if somewhat heavy-handed historical affair is anchored by Coogan’s solid lead turn, with support from Andrea Riseborough as a hard-hitting state prosecutor and promising newcomer Garion Dowds as an executioner who could wind up facing the gallows.

40

Screen Daily by Lee Marshall

What stands out in relief from the film’s flat characters and pedestrian storytelling is its dramatic core: the killing machine that death row had become in South Africa by the end of the 1980s, with 164 executions taking place in Pretoria Central Prison in the year in which Shepherds And Butchers is set, 1987.

63

Movie Nation by Roger Moore

I found the picture moving in spite of its seeming unwillingness to wholly grapple with race and Coogan’s unwillingness to master the Afrikaner accent. He’s a gifted mimic, and Riseborough manages it. What gives? But what it does wrestle with is profound, and profoundly disturbing.

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