Björn Broekman’s review published on Letterboxd:
It's been a while since I've had such a physical reaction to a film pure and alone due to its cruel intensity. During the bridge scene I was literally shouting at my tv out of pure helplessness and at some point I found myself laughing at how ridiculously silly my behavings were getting during those scenes that I found so intense. Good that I had nobody sitting besides me because this person would have probably had a good punch in the face at some stage (and depending on the person in question that would have been either on purpose or not). So, my physical reactions do tell a lot about how I experience a film. And I can tell you, in Sorcerer's case that must have been a sight to behold.
From the moment the with dynamite loaded trucks start driving its evident that the filming of this beast of a movie must have been one living hell to accomplish. The determination of both cast and crew must have been immense and knowing that the production of this actually was one living hell makes the end result all the more impressive. The ever present tension is reaching incredible heights during this brooding trip through the rain forest, sustaining its unease throughout the complete runtime due to the spectacular technical craft, sweaty close-up's and discomforting atmospherical qualities. The scenery and deliberate camera movements scream foreboding dread at a ruthless pace, keeping the viewer in a lasting grip.
Before entering this heart of madness, there is a first half that is significantly different from its second. We're following those four questionable guys with questionable intentions and very soon we find out that they're all, in their own ways, criminals and terrorists. The latter is made relentlessly clear during a massively explosive action setpiece and a furious riot sequence, which are as brutal and well staged as cinema could ever get. Sorcerer consists of two stunning halfs that impress in equal measure, and carry plot elements that are linked by one simple word: money. William Friedkin's extraordinary film is one of memorable heights. It reeks of insanity, bordering on pure madness and with that reaching absolute brilliance untill that last shocking punch in the face right before the end credits start rolling.