127 Horas

There are two things that could or might work against this film. The first thing is that this is the first film from Danny Boyle since the runaway success of Slumdog – so he is a "big" director now and accordingly the posters for this are everywhere and awards are being muted, the star of Pineapple Express is in the lead and audiences are making it their Saturday night choice. The second of them is the plot in which essentially a rather arrogant and spoilt character gets himself into trouble and gets out of it by learning a "lesson" about the error of his ways. This plot could easily be on the Hallmark channel daytime schedule right now complete with corny "I'm learning to be better" music and warm, safe colours everywhere.

The problem with the first thing is that, while these things are true, 127 Hours is essentially an independent movie, not a massive blockbuster and it is the sort of smaller fare that critics love and audiences discover – it isn't the film I expect to be on every other bus shelter. So, while it is really good that he made the decision to do a project he wanted to do rather than cashing in with the "big" Hollywood movie, it may lead some to expect something that the film never pretends to be. Having said that though, in regards the second challenge, thank God that this is a Danny Boyle film and not something picked up by the TV networks or less imaginative director, because this could have been corny, obvious, sentimental and cloying. In fact, Boyle appears to be working against that as much as humanly possible.

We have very little time in the film before our character is alone, down a hole and trapped alone. Most of us will know where it is going and the question is how will the next 80 minutes be filled? The content of the film is indeed the character beating himself up a bit over who he is, struggling with hallucinations and become more and more fevered until he decides that he has to do what he has to do. It is really well scripted though and Boyle really delivers in terms of putting it on the screen. I thought the idea of "self-revelation flashbacks" sounded cheap and obvious as a device, but Boyle does it really well, making them partially remembered, flashes and even when our character is "in" them, he is still "in" his current predicament – hard to explain perhaps but it worked much better than a complete scene as a flashback. The one problem that his direction does cause is that I never felt trapped with Aron, because the camera was moving out and around so much – I know they shot it in deliberately confined setting but this didn't really come through. That said, I think that this loss is a price worth paying because it does visually engage and these flourishes and style adds more than it detracts. The soundtrack is odd a times but mostly works really well.

Franco is key and this did worry me since Bole says he cast him after seeing how excellent he was in Pineapple Express – a sentiment I really don't agree with, although I though he was likable in a story that was not so likable. Here he is really, really good. He has to do a lot of thinking on his face and he makes this work while also letting his character change over the course of the ordeal. Perhaps we don't get his full character but in terms of the film the performance was really engaging and convincing.

Overall 127 Hours is not the big Saturday night drama that it is billed as, it is an indie film that is very contained and not an easy sell if we're honest. However, it is also a very good film with Boyle really making it his own to the benefit of the material, avoiding the traps of sentiment that so many would have fallen into and producing an engaging situation while Franco matches him with a strong performance that easily holds the attention.

As demonstrated by his ability to earn acclaim in everything from zombie films ("28 Days Later") to foreign coming-of-age love stories ("Slumdog Millionaire"), Danny Boyle has an extraordinary gift as a filmmaker and in "127 Hours," he channels it into an extraordinary story of human willpower. This could have easily been a compelling but plain and ordinary documentary on the Discovery Channel or National Geographic about a man pinned under a boulder who miraculously survives. Boyle, however, transforms it into a powerful statement about the will to live and where that motivation truly comes from.

"127 Hours" does not simply prove the point that humans will do whatever it takes to survive in dire circumstances. In fact, I might argue 9 of 10 people wouldn't do what Aron Ralston (James Franco) does in this film. Anyway, Boyle makes it his mission to use Ralston's incredible true story -- one that told at face value would probably just elicit gasps -- to alter our perspective on living.

What's obvious is that none of the impact of "127 Hours" is possible without Franco. A film about a man trapped in a crevice for more than five days needs a heck of a lead actor and Franco, despite few dramatic credits to this point, proves beyond capable. Although boredom might set in for some during this film given its plot, the believability of Franco's performance remains constant and irrefutable. He possesses the fun-loving and care-free charisma of Ralston then slowly breaks that shell and shows his human fragility.

Yet remarkably, Boyle leaves a substantial thumbprint on the film, much of which he shares with co-writer Simon Beaufoy, also of "Slumdog." Because the story is so straightforward, Boyle recognizes imagery and perception provide his only means of creativity. He shows us inside the tube of Ralston's water backpack, water bottle and other close-ups, all of which seem unnecessary, but they establish images which we will come to think about with a different perspective as the film wears on, such as when Aron drinks his own settled urine out of the water pouch. Boyle uses the same process shot, but suddenly we don't see it the way we did earlier and they become more meaningful than tedious.

This subtly effective technique can also be found in the beginning and ending shots of the film. It seems completely random that Boyle would open with crowded streets of people as if he's tricked us and really made "Slumdog 2," but the image gains significance after experiencing Ralston's journey.

"127 Hours" will not be kind to people who don't take lightly to seeing blood outside of the "shoot 'em up" genre. Many of these people will leave the film thinking all they got was shock value, but of course there's much more to it. Despite the "how will he survive?" plot, a substantial amount of time is placed on flashes to memories Aron thinks of regarding his family, fantasies and of course, regrets. Boyle beautifully shows us that although survival seems an inherently selfish thing, much of that motivation and will to live comes from other people, even total strangers. Aron thinks a lot of the girls (Kata Mara and Amber Tamblyn) he hiked with just hours before the accident though otherwise he'd have likely forgotten them.

The build-up and catharsis of Aron's story might not be the most powerful and uplifting based-on-true-story you've witnessed, but "127 Hours" clearly surpasses expectation in terms of the message it sends and the impact it leaves. With it, Boyle solidifies his place as one of those filmmakers you must always have an eye on and Franco emerges as a relatable everyman with above-everyman-grade talent.

~Steven C

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I wondered how filmmakers were going to keep the viewers interested in a guy stuck in crevice for five days. I found out: unique photography, a little humor here and there, a little romance, a little family sentiment, and a great job by both lead actor James Franco and director Danny Boyle.

The two combined to make much more of what could have been a boring film. They kept it interesting all the way.

It all added up to an entertaining film, not something I'd watch a number of times but one I'm glad I rented. This is a special treat in high-def, too, with the amazing Utah scenery and the unique camera shots by Boyle. That includes a number of split-screens and other creative stuff.

You know, when I first heard about this movie. I didn't really know what to expect, as all I knew was it was based on a true story about a guy getting stuck in a canyon due to a boulder. I decided to give it a shot and well, I was amazed by this movie. Danny Boyle continues to give us impressive cinematography and incredible performances in his movie, thanks to James Franco, who plays as Aron Ralston, the mountain climber who gets stuck under the boulder if you didn't already know.

I'm not going to go into any big spoilers, but it was amazing to see how the movie builds up to the main plot. After getting stuck under a boulder for 5 days, you're probably thinking "How is this movie going to stay entertaining?". Well, we witness some attempts of Aron trying to get out of the boulder, as well as using the equipment he brought with him with his backpack to try and survive. He also tries to keep himself awake so that he can live long enough to not die. When all normal attempts to escape fail, as a last resort, he does something very terrifying to get out. When this scene happened, I had to turn away in parts due to how extreme it was!

With good uses of hallucinations and flashbacks to keep the story flowing, Danny Boyle has managed to make this movie as realistic as possible. Great music, great filming, and stunning performance. 127 Hours is a fantastic movie about a real-life incident that may be too disturbing to watch for some people, but I'd consider it a must see on all grounds. Definitely worthy of getting nominated for Best Picture at least surely?

I started loving this film within the first few seconds. 127 Hours begins immediately with the sound of Fresh Blood's "Never Hear Surf Music Again" ("There must be some f*%#ing chemical, chemical in your brain, that makes us different from animals, makes us all the same." etc...) just as featured in the 1st trailer. That not-ripped-off euphoric feeling (how many times have you seen a trailer with a perfect song/music and then felt betrayed that it wasn't in the film later... yeah, me too) carried on all the way through the rest of the film.

The film has an energetic start with a split screen showing office-bound commuters/workers going along their daily drudge while our lead, x-treme biker/hiker/climber Aron Ralston (played to perfection by actor James Franco) packs his gear (unfortunately not finding his Swiss Army knife which might have made a lot of difference to him later on) for a trek into Blue John Canyon country in Utah. While on his way he has a brief fun climbing/diving/swimming interlude with two female hikers (played by Kate Mara and Amber Tamblyn). He then heads off on his own and at about 20 minutes into the movie takes a tumble with a small boulder that ends up pinning his right arm against the side wall of the thin crevice of a canyon. And that is where we are with him for the next "127 hours" (but only 1 hour of screen time) that it takes him to get loose.

I'm not going to spoil that resolution here, although most will likely hear about it anyway before seeing the movie. An obvious clue that he survives is given by the screen credit early in the film that says it is "based on the book Between A Rock And A Hard Place by Aron Ralston". The guy must of survived if he wrote a book about it right? Well, you can survive in many ways and not all of them leave you whole (both mentally and physically).

Director Danny Boyle brings a lot of the key Oscar-winning players of the Slumdog team back for this new film. Screenwriter Simon Beaufoy, soundtrack composer A.R.Rahman and cinematographer Anthony Dod Mantle (this time paired with Enrique Chediak) are chief among those. As an added bonus, from the director of the toilet-diving cam in Trainspotting, we now have the "desperately thirsty character saves his own urine so it can be filmed while drunk through a tube"-cam in this movie.

At the Toronto Film Festival's 2nd screening of the film, Boyle was there to take questions from the audience and his enthusiasm and excitement about the film were infectious. Tidbits included his talking about their 6 days of location shooting followed by a sound-stage recreation of the canyon based on 3D scanning imagery. Boyle also praised actor James Franco and emphasized how every time we see him in a new film he is stretching his talents and abilities, unlike many lead actors who are just basically playing themselves in various different situations.

Boyle said that for an audience to watch what would otherwise be deemed "unwatchable" you either had to be making a schlocky/not-to-be-taken-seriously horror movie OR you had to make the audience completely identify with the character to the extent that they would believe that they themselves would have done the exact same thing to save themselves if they had to. Well, Boyle succeeds in making you believe it.

Seen at the Ryerson Theatre, Toronto Sept. 13, 2010. 2nd screening of 3 at TIFF 2010.