Time Out London

The 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.

Time Out London by Staff (Not Credited)

The 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.

Variety

Cry 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.

Empire

Only stony hearts won't be moved by Attenborough's vivid, if occasionally sentimental, evocation of a great well of human potential cruelly snubbed out.

Variety by Staff (Not Credited)

Cry 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.

Empire by Robyn Karney

Only stony hearts won't be moved by Attenborough's vivid, if occasionally sentimental, evocation of a great well of human potential cruelly snubbed out.

Chicago Tribune by Gene Siskel

The stirring, somewhat too earnest story of a white newspaper editor in racist South Africa who rallied to defend black activist Steve Biko, who was beaten to death in jail in 1977. The film is weighted to the story of the editor (Kevin Kline)-his education about Biko, his subsequent determination to spread the word of the widespread bigotry in South Africa and his adventure story of his family fleeing their native land before they were all jailed for treason. Directed by Richard Attenborough (Gandhi) in the same noble, yet effective manner. [06 Nov 1987, p.41]

Newsweek by Jack Kroll

Whatever its imperfections of structure and symmetry, Cry Freedom is an exciting film because of Attenborough's passionate feeling for the complex, bitter war for justice that's going on in South Africa. [09 Nov 1987, p.79]

Chicago Sun-Times by Roger Ebert

For 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.

The Globe and Mail (Toronto) by Jay Scott

It is probably silly and certainly counterproductive to reject what Cry Freedom is merely because of what it is not. If it is not a great political film, it is an honorable attempt to add to political debate; if it is not a definitive biography of a great man, it does contain a mesmerizing incarnation of Biko in the person of U.S. actor Denzel Washington. [06 Nov 1987]

Washington Post by Rita Kempley

The proficiency of the actors powers the movie despite a stiff script and Attenborough's preference for choreographed crowd scenes over intimacy.

The New York Times by Janet Maslin

Bewildering 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.

The Guardian

A well-meaning film about the white liberal experience in South Africa – but, if you want to know about Steve Biko, look elsewhere.

The New Yorker by Pauline Kael

When 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.

Washington Post by Desson Thomson

Attenborough'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.

TV Guide Magazine

The 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.

The Guardian by Alex von Tunzelmann

A well-meaning film about the white liberal experience in South Africa – but, if you want to know about Steve Biko, look elsewhere.