12 Years a Slave 2013 123movies

Watch: 12 Years a Slave 2013 123movies, Full Movie Online – Based on an incredible true story of one man’s fight for survival and freedom. In the pre-Civil War United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty personified by a malevolent slave owner, as well as unexpected kindnesses, Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon’s chance meeting with a Canadian abolitionist will forever alter his life..
Plot: In the pre-Civil War United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery. Facing cruelty as well as unexpected kindnesses Solomon struggles not only to stay alive, but to retain his dignity. In the twelfth year of his unforgettable odyssey, Solomon’s chance meeting with a Canadian abolitionist will forever alter his life.
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Ratings:

	8.1/10 Votes: 700,326
	95% | RottenTomatoes
	96/100 | MetaCritic
	N/A Votes: 10016 Popularity: 22.945 | TMDB

Reviews:

**Dreaded at the thought that human kind ACTUALLY had this kind of livelihood at some point of time..**

Could not gather my thoughts to write this review at the end of the movie.Feeling really bogged down by some heaviness on my chest. Thinking about the times in history when we actually used to do these atrocities on other human beings makes me cringe.To imagine waking up one day and find me in chains just because I’m a colored man and living my life like an unwanted child of god makes me question humanity altogether. Just sitting through a little over than 2 hours and watching this movie made my heart bleed, I can’t even begin to think of the people who lived their entire lives as SLAVES… 12 years a slave heart breakingly makes you feel the pain and suffering of almost the entire human kind at one point of time or other. Direction by Steve McQueen is brilliant.Chiwetel Ejiofor plays a helpless slave in Solomon Northup to the hilt and also the small but impactive role played by Brad Pitt as a man with conscience is superb.Lupita Nyong’o’s Patsey too was depicted heart warmingly. You can’t help but question yourself that how could MAN stoop such low and do these cruel acts and that too over such a prolonged period of time without even a single ounce of doubt in his mind for what he would have to pay for his actions.. All in all a GEM of a movie showing one of the lowest point in human history !

Not in a long time have I seen a movie that brings out real emotions from my cold hearted soul. This movie brought them out in floods of tears.

the acting was superb, especially from the lead Chiwetel Ejiofor, he acted from his little toe right up to his eyes.

The style was also filmed beautifully with some (extremely) painful long shots which pulled you into Solomons nightmare.

Im not sure if its a film I could watch again, purely for the emotion but I would recommend this film to everyone.

12 Years A Slave earns the right to be called one of the best films of the year.
If any contemporary director deserves to be in the mainstream spotlight without compromising their style, it’s Steve McQueen. His debut, Hunger, already had the hand of a confident filmmaker taking a fly-on-the-wall style to the grimy art-house. Shame was one of the finest films of its year for its impeccable depiction of an addiction to one of humanity’s primal survival instincts resulting in self-destruction. I’m so happy that his latest film has gracefully conquered early Oscar favourites from the output of David O. Russell, Martin Scorsese and the now delayed film from George Clooney to become this year’s Oscar frontrunner. During its festival run when the buzz first began, I took it upon myself to read the screenplay. While I can usually sink scripts within a few hours, the poetic density of 12 Years A Slave took several sittings across a week or two. Even on the page it was a harrowing, exhausting experience. It’s a film that needs a have a gut to truly display the length of time, but the script is bloated in its brilliance.

Naturally, scenes were cut (whether in the editing room or pre-production I don’t know) and that’s a blessing and a curse. Now in the film, we rush to Solomon Northup’s capture, opening with scenes we shall revisit later on. I understand the decision to enter the world as quickly as possible, but I do feel it hurts its first act. As much as I jump for joy every time Scoot McNairy hides himself in a film, the transition from ordinary life to becoming kidnapped feels jarring and contrived. Who is Solomon Northup as a free man? What does he want? Maybe we don’t know because there is no source for the matter. Maybe McQueen isn’t interested in telling that story. At the very least, we definitely know that Solomon is a compelling character during his capture. Chiwetel Ejiofor is an actor I’ve always liked but he’s never made an impression until now. His passion and commitment to his portrayal of Solomon is utterly captivating. While he can slink into the background of some scenes where he is not the focus, when it’s time to shine he bursts a fuse.

Unfortunately during this cluttered first act, it concerns itself too much with subplots that we know will not succeed. While they accomplish establishing the stakes at hand and rule out the ‘why doesn’t Solomon just ’ there’s just too many abridged tales. Perhaps this is distracting just because I know the full stories from the script, but they should’ve went all or nothing with them. It results in editing that frustratingly refuses to let us into Solomon’s headspace. We’re along for the ride, but too frequently not Solomon’s ride. During then we only get rare and rewarding glimpses into how he feels and his perspective on his past life stolen from him. Fortunately the film vastly improves once Solomon is free from the deliciously cruel Paul Giamatti to the spiteful live-wire Paul Dano. As the film focuses on his one-on-one conflicts and moral dilemmas, the film reaches intimate and truly challenging moments which is where the film’s power lies. Fruitless subplots are dropped in favour of heartbreaking ones as we’re introduced to the pitiful Patsey on the pathetic Edwin Epps’ plantation.

Michael Fassbender and Steve McQueen have been one of the most enthralling director/actor combination in recent years. They always bring out the best in each other. Here, it feels like they’ve reached their finest work yet, but still feels like their collaboration has just began. Fassbender’s Edwin Epps is the film’s most fascinating and complex character, a man who sincerely refuses to believe he is evil. He demonstrates the thesis of the film in that the authoritative caucasians didn’t believe they were doing anything wrong. Many people have laid claim that he is pure evil, but I don’t think that’s the point, he belongs in a misguided world where he thinks his lust and affection is apt praise for Patsey’s talent. While I may not have sympathy for him, he is a tortured soul, a regrettable and irreversible tragedy of mankind and this is thanks to Fassbender’s incredible performance. His victim Patsey, played by talented newcomer Lupita Nyong’o, is an utter revelation. She may not have a fully developed character but in at least two powerful scenes, she makes the best out of what she can for a character that warrants the tears you will inevitably shed.

One of the most consistent aspects of McQueen’s films is the magnificent taste in cinematography and production design. Presumably from his art background, he’s great at immersing you into his bleak visual worlds. Working with Sean Bobbit again, the cinematography is reliably enchanting. In true McQueen style, if a character must endure patiently, in this case Solomon hanging from a noose on the tips of his toes, we must endure with them. No shot this year, not even in the extraordinary Gravity, has been as stunning and unforgettable as the infamous long take of Patsey’s lashes. It’s a filmmaking masterclass in just a few short minutes. Despite the shaky first half hour, it’s all redeemed in its harrowing final 15 minutes. It’s the greatest sequence I’ve seen in a long time and I’ve never had a scene make me a blubbering mess quite like it. Yes, the jump to his kidnapping feels abrupt and there’s no sense of relief to his inevitable freedom, but this is all calculated to mirror the struggle of his experience and we’ve felt every beat. 12 Years A Slave is a powerful testament to the endurance of the human spirit with its theme of injustice applicable to any point in history that earns the right to be one of the best of the year. After a string of lightweight Best Picture choices from the Academy, this will be a refreshing choice.

9/10

12 minutes of heartbreak (plus an extra 140)
Steve Mcqueen is proving himself to be a director to look out for. I wasn’t a huge fan of his debut, Hunger, as I found it too pro-IRA and slow. However, I thought that the directing was pretty outstanding and it had a distinct style. Shame is a film I’ve yet to see, but I’ve heard plenty of rave reviews. 12 Years a Slave looks to be Mcqueen’s masterpiece. It’s film-making at it’s most effective and powerful. I cam away from the film feeling incredibly moved as I sat there in silence along with the rest of the crowd as the credits came up. 12 Years a Slave dares to bare all in a way that most mainstream films would be afraid of doing. Mcqueen shows all the unflinching brutality to create an overwhelming sense of power. I’m used to watching harrowing and depressing films, but these are normally little known like, Dancer in the Dark and The Seventh Continent. 12 Years a Slave is very much mainstream, yet I still found it incredibly harrowing and brutal. Mainstream audiences are go to in for a nasty shock.

The film itself has the look of a classic. Like other modern masterpieces such as, There Will Be Blood and Black Swan, the film looks grainy and the cinematography is quite beautiful. You can almost feel the scorching sun dripping off the screen. The directing is near perfection. Mcqueen goes for an art house vibe without over doing it. He keeps the camera deathly still when filming most of the brutality, such as the unflinching whipping of Solomon near the beginning of the film. This distance adds an added emotional punch for the audience as we’re forced to feel every lash on his back. Equally as uncomfortable is the scene where Solomon has been left to hang and we’re forced to watch him trying to stand on his tip toes for what feels like an eternity.

Another impressive aspect of the film is the stellar performances. Chiwetel is hugely convincing in the lead as the wrongly enslaved Solomon Northup. We feel his pain as he’s able to draw such emotion without even saying a word. Michael Fassbender is astounding as the evil plantation owner who treats his slaves as the vermin of the Earth. Fassbender manages to pull off a convincing deep south accent, although his Irish twang is very much still trying to come out. Lupita is also distressing to watch as the slave who has lost all hope, she especially impresses in the greatest scene of the film (more on that later). The supporting cast are all brilliant also. Paul Dano is deliciously evil and Benedict Cumberbatch offers a rare glimpse of humanity among the rich slave owners.

12 Years a Slave is a film not to enjoy, but to endure. Many people would fail to see the point in going to see a film which isn’t entertaining in the slightest, but I’m not one of those people. I love films which are brave, powerful and deeply emotional. The story of Solomon is a grippingly harrowing one and Steve Mcqueen forces you to watch some disturbing, yet important scenes and directs with a shattering sense of realism. The stand-out moment in the film for me was the whipping of Patsey. This scene possesses so much power and it’s enough to break your heart. Mcqueen directs the scene in one long take and the emotion of it all is almost too much to bear. The grisly effects make is all the more harrowing.

Another thing I loved about the film was the fantastic music. It’s unsettling at times, whether it be the strange drum music on the slave boat or the haunting lyrics to Paul Dano’s solo song. However, the main score is the most shattering and only served to elevate the raw emotion it portrays on the screen. It came as no surprise to see Hans Zimmer’s name appear on the end credits as he is one of the greatest cinematic composers of all time in my opinion.

12 Years a Slave is not an easy film to watch, but it’s an important one. If you don’t feel deeply moved or depressed when it’s finished, then you must be Edwin Epps. It’s all the more tragic that this film is true and something like this happened for a long time. It could’ve very easily become sentimental in its last emotional scene, but Mcqueen made it feel real and removed all the Hollywood gloss to create much more of an impact. It won the best picture Oscar and deservedly so. I can’t help but feel that it should’ve won more though and it’s shocking to see that it wasn’t even nominated for best cinematography. 12 Years a Slave is harrowing cinema at its very best. Even if you just see it once. Be sure to see it.

Other Information:

Original Language en
Runtime 2 hr 14 min (134 min)
Budget 20000000
Revenue 187000000
Status Released
Rated R
Genre Biography, Drama, History
Director Steve McQueen
Writer John Ridley, Solomon Northup
Actors Chiwetel Ejiofor, Michael Kenneth Williams, Michael Fassbender
Country United States, United Kingdom
Awards Won 3 Oscars. 242 wins & 337 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix DTS (Digital DTS Sound), Dolby Digital, SDDS, Dolby Surround 7.1, DTS (5.1 surround)
Aspect Ratio 2.35 : 1
Camera Arricam LT, Cooke S4 and Angenieux Optimo Lenses, Arricam ST, Cooke S4 and Angenieux Optimo Lenses
Laboratory Cineworks, New Orleans (LA), USA (telecine), DeLuxe, Hollywood (CA), USA (prints)
Film Length 3,684 m (8 reels)
Negative Format 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema