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Tsotsi

The South African multi-award winning film about a young South African boy from the ghetto named Tsotsi, meaning "gangster". Tsotsi, who left home as a child to get away from helpless parents, kills a woman to steal her car, only to find her baby in the back seat. Will Tsotsi leave his violent ways behind to give this child a chance at the life he never had?
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70

Variety by

Powered by a pounding soundtrack of dance hall Kwaito music, the pic has vital, urban energy similar to the Brazilian crossover "City of God" but with a tauter, more conventional storyline.
75

ReelViews by James Berardinelli

When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.
50

Village Voice by Jessica Winter

A widescreen wallow in socially enforced slum nihilism brought to you by Miramax, Tsotsi could be pegged as "City of God" relocated to the Soweto shanties, but it eschews the ironic swagger and strobe-speed action of Fernando Meirelles's lurid jigsaw for a more conventional arc.
70

The New York Times by Manohla Dargis

To his credit, Mr. Hood's meditation on truth and reconciliation doesn't traffic in the cheap thrills of art-house exploitation, like "City of God"; he wrings tears with sincerity, not cynicism.
75

Rolling Stone by Peter Travers

Based on a play by Athol Fugard, Tsotsi is South Africa's entry in this year's Oscar race for Best Foreign-Language Film. This remarkable movie means to shake you, and boy does it ever.
80

Film Threat by Phil Hall

Tsotsi emerges as being among the finest films ever to come out of Africa. It is a brilliant, jolting and altogether powerful blast of energy and emotion.
80

The Hollywood Reporter by Ray Bennett

Brutal but believable, the film in some ways harks back to early Hollywood, when Jimmy Cagney or Richard Widmark played callow villains out of their depth in everyday life.
50

The A.V. Club by Scott Tobias

In trying to find the decency in a killer, the film anxiously accounts for his every misdeed. It's a little like watching "City Of God" morph into "Three Men And A Baby."

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