Thanks to its incisive script and the excellent performances of Luke and Robbins, its primary characters are not just black and white, literally or figuratively, but instead are shaded and multidimensional, battling demons and conflicted as hell.
Catch a Fire (2006)
Tomatometer
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Reviews Counted:136
Fresh:103
Rotten:33
Average Rating:6.7/10
Consensus: No stranger to the political thriller, director Phillip Noyce tackles apartheid and terrorism with experienced gusto, while Derek Luke and Tim Robbins hand in nuanced performances.
Rated: PG-13 [See Full Rating] for thematic material involving torture and abuse, violence and brief language.
Runtime: 1 hr 42 mins
Genre: Dramas
Theatrical Release:Oct 27, 2006 Wide
Box Office: $4,291,965
Synopsis: Powerfully telling the story of a South African hero's journey to freedom, Catch a Fire is the new film from director Phillip Noyce (The Quiet American, Rabbit-Proof Fence). The political thriller... Powerfully telling the story of a South African hero's journey to freedom, Catch a Fire is the new film from director Phillip Noyce (The Quiet American, Rabbit-Proof Fence). The political thriller takes place during the country's turbulent and divided times in the early 1980s, and in the new South Africa of today. Derek Luke portrays real-life hero Patrick Chamusso. Patrick is a charming and loving husband to his wife Precious (Bonnie Henna), and a caring father to his two young daughters. He works as a foreman at the centrally located Secunda oil refinery, which is a symbol of South Africa's self-sufficiency at a time when the world was protesting the country's oppressive apartheid system. In his spare time, Patrick coaches a local boys' soccer team. Carefully toeing the hard line imposed on blacks by apartheid, Patrick is completely apolitical. Academy Award winner Tim Robbins plays Nic Vos, a Colonel in the country's Police Security Branch. The shrewd and charismatic Vos strives to maintain order in volatile situations, which have become more and more frequent as the outlawed activist organization African National Congress (ANC) rallies blacks against apartheid. Vos is also concerned for the safety of his wife and two daughters. He and his family live a world away from the Chamusso family ... until the innocent Patrick comes under suspicion and is arrested (in June 1980) for sabotage of the Secunda oil refinery. His alibi is compromised, and Patrick is desperate to shield Precious from a past indiscretion and keep his job. But he is ill-prepared to withstand brutal interrogations by Vos' men. As Vos further insinuates himself into the lives of the Chamussos, to Patrick's shock and shame, Precious herself is jailed and tortured. Although he and Precious are soon released from custody, Patrick is stunned into action and completely reorients his sense of self and purpose. He leaves his family to join up with the ANC. Becoming a rebel fighter and political operative, Patrick is radicalized on behalf of his people and his country. He ultimately envisions a formidable and dangerous follow-up strike against the Secunda refinery, risking his own life and future. Change must and will come, for Patrick and his family, and for South Africa itself. --© Focus Features [More]
Starring: Derek Luke, Tim Robbins, Bonnie Henna, Mncedisi Shabangu
Starring: Derek Luke, Tim Robbins, Bonnie Henna, Mncedisi Shabangu, Tumisho K. Masha, Sithembiso Khumalo, Terry Pheto, Michele Burgers, Malcolm Purkey
Director: Phillip Noyce
Director: Phillip Noyce
Screenwriter: Shawn Slovo
Producer: Robert Bevan, Eric Fellner, Anthony Minghella
Studio: Focus Features
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Reviews for Catch a Fire
The best, most powerful moments in Catch a Fire come at the end -- in the film's appropriately low-key conclusion.
Catch a Fire may not substantially expand our understanding of the apartheid era, but the look and feel of South Africa pervade this film, giving it enough vibrancy and impact to compensate for what feels familiar.
The remarkable South African story Catch a Fire is more than capable of raising and exploring resonant political questions in a Western world obsessed with terrorism.
Philip Noyce's timely drama poses the polarizing question, of what, if anything, separates a 'freedom fighter' from a 'terrorist.'
Having first burst on the scene in his groundbreaking title role in Antwone Fisher, Luke delivers here a top-notch performance that is nuanced and layered, with just the right emotional punch.
[Director Phillip] Noyce and [writer Shawn] Slovo remind us that, if you treat everyone in a culture as a terrorist, you're certain to catch some who really are - but you're also liable to make terrorists of those who never would have been.
Phillip Noyce's Catch a Fire shares its name with the classic Bob Marley record. The record is better.
I can't say enough about Luke, who has been good before but breaks out with this multifaceted performance.
a touch too literal-minded to pass as a genuinely great film ... But it is decent, sober and, in spots, thrilling.
The characters seem to be going through a ritualized telling of the evils of apartheid without really bringing anything new to the table.
Save for a committed performance by Derek Luke in the film's lead role, there's little that's terribly remarkable about Catch a Fire.
Both men are ordinary, flawed characters, neither of them grand or outsize enough to warrant biopic treatment.
Luke has grown as an actor to have the same kind of screen presence as Matt Damon. If he keeps putting in performances like this, we'll upgrade him to Leonardo DiCaprio status.
The villains are clearly marked, but never with enough nuance or design to make them memorable, while the heroes are flawed but not to the point of challenging archetypes.
A sizzling performance by Derek Luke ignites this story about Patrick Chamusso, a South African oil refinery worker who became caught up in the fight against apartheid.
An affecting story of punishment and crime, of betrayal and redemption marred by preachiness and a treacly ending, Catch a Fire is notable for its refusal to see things in terms of black and white.
Ultimately, [director Phillip Noyce] does a pretty good job of telling us the cost of freedom; he just can't quite put us inside the skin of the people who had to pay it.
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