Everything about 12 Years screams Oscar: period setting, heavyweight cast, topical subject matter with historical context and, the cherry on top, a Hans Zimmer score. Much like Lincoln last year, this is the "traditional" (read: safe) Best Picture nominee which the Academy loves to dote on and, although I don't put it in the same league as Gravity or Captain Phillips, I can see why it's become the favourite to win the biggest award in Hollywood.

Firstly, the acting is nothing short of amazing from all involved. In his first major lead role, as Solomon Northup, a free African American who is kidnapped and sold into slavery, Chiwetel Ejiofor wisely opts against histrionics in favour of a subtler, more impactful blend of gritty determination and soul-destroying vulnerability. He's surrounded by a range of top-notch supporting turns - including Benedict Cumberbatch, Paul Giamatti, Brad Pitt, Sarah Paulson, Paul Dano and newcomer Lupita Nyong'o – with Michael Fassbender delivering yet another tour de force performance as ruthless slave owner Edwin Epps.

Then there's Steve McQueen's unmistakable style behind the camera, which, after Hunger and Shame, has been subdued slightly to ensure this drama is his most accessible work yet. McQueen employs his trademark long, lingering shots to powerful effect, notably during two unrelenting scenes of a near-hanging and a lashing. McQueen's oblique camera work and point of focus was, for some, cause for frustration in his previous two films, but here it only emphasises the dire circumstances these slaves endured and adds to the bleak atmosphere.

Not quite as monumental as the awards buzz would suggest and certainly not without flaws, 12 Years is nevertheless a worthy and highly recommendable motion picture, which admirably and honestly tackles a shameful portion of America's history.