This powerful story, reminiscent of Dostoyevsky's 'Crime and Punishment,' is told with a minimum of dialogue.

This film won the Oscar for best foreign language film, and it is well deserved.

told with conviction and skill, and Chweneyagae's expressive face and eyes reveal all the emotions, fears and hopes that Tsotsi cannot articulate.

In the long run, the film may not entirely satisfy one's intellectual curiosity, but it pleases the heart.

A chance for the stay-at-home world-travelers to catch sight of Johannesburg's filthy sprawling township of Soweto.

It’s well-acted, beautifully photographed and meticulously professional.

Tsotsi remains at all times an intensely human story, one that transcends the particulars of its time and its place.

A film of extraordinary viciousness and vulnerability about a criminal who has to meet an infant to remember he is still a child himself.

Without cheap deceptions, clever editing, plot conveniences or overt exposition, the film pulls you in and keeps you there on the merit of the story's substance.

But by placing the tale in contemporary Soweto and Johannesburg, South Africa, Hood imbues the film with a sense of authenticity that makes the movie seem more moving than manipulative.