David Punch’s review published on Letterboxd:
A biting exposé of the American justice system as a pretense for inhumane labor exploitation, I Am a Fugitive from a Chain Gang delivers in its sobering depiction of the depravity and corruption endemic to a system that profits from the enslavement of its workers. The first half of the film is a terrific and highly pointed demonstration of social critique, credibly depicting how someone could end up in a desperate enough situation that would run them afoul with a law, and how what potential crime they may have committed is disproportionate to the amount of punishment inflicted by the blind scales of supposed justice. When we see just how debilitating the conditions of a chain gang are the film is at its artistic zenith. The cold clanking sounds of the prisoners’ chains are cacophonous in their prominence, and the cruelty of their treatment is liberally felt without once coming across as outrageous or comical. The cinematography is dynamic and pointed, emphasizing crucial aspects of the odious system by way of impactful and prominent closeups and editing. If these bold statement of critique weren’t enough, the film strikingly invokes the direct lineage of the Southern slave system in depicting the disproportionate amount of Black men enlisted in these chain gangs, drawing direct attention to how their labor is prized and how the people in power scheme to keep them in their services indefinitely. Haunting images of these souls toiling under the sun while bellowing spirituals to keep from breaking makes certain that the parallels of the film are no allegory. With all that powerful and evocative energy one would hope the momentum can be maintained even after Paul Muni makes his daring escape as foretold by the film’s title. Sadly, the story sinks into a slump as he very quickly finds success in the world while evading the law and a series of predictable encounters follow suit which eventually lead him back to the bondage from which he initially escaped. The film loses all sense of time in this stretch of progression, as literal years fall off the calendar in haphazardly cobbled montages. The romantic conflict here as well is rushed and undercooked, and ultimately exists only as a means to get him back into the chains that hang over him like a spectral noose. The back half is almost entirely flaccid compared to the hard-hitting depiction and filmmaking seen in the film’s earlier segments, much of which can still stand as a bitter indictment of the capitalistic systems that perpetuate the exploitation of our prison programs today. The filmmaking seen here is some of the best of the decade, leaving such an indelible impression as to wax over the more underwhelming elements that proceed it.