Catch a Fire

Both a condemnation of torture as a political tool and a tribute to the bravery that exists within everyone.

This deeply moving and disturbing film derives power from being based on the true story of a black South African who does everything possible, no matter how degrading, to get by within an immoral system, but becomes radicalized almost despite himself.

Fire shows what happens when a government systematically denies rights to one racial group for decades, but its message is more current.

Whatever you make of the film's politics, Luke makes a vivid impression in his most substantial role since "Antwone Fisher," and Robbins resists the temptation to make the thinly written Vos a villainous caricature.

Though preachy at times, Catch a Fire is a well-constructed action thriller elevated by Luke's performance.

The film never strays much beyond the obvious, despite a conscientious effort by Tim Robbins to humanize a white security officer.

In the end, Catch a Fire plays like some weird hybrid on the crazy-quilt filmography of Phillip Noyce, which includes small productions made in his native Australia and the Sharon Stone sexcapade "Sliver." What it's definitely not is the standard-issue movie about apartheid; there's no white protagonist, no pale-faced hero riding in on his high horse to save the oppressed black man.