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127 Hours - Post Release

post #1 of 46
Thread Starter 
Like most of Boyle's work, this one is a lean, ninety-minute contact high, and the only film I've seen this year that truly pulsates recklessly with life. And at times, though the film wobbles in spots (I'm not a big fan of those Mike Figgis like split-screens), the uneven aspects still manage to give it a care-free, spontaneous charm, that mirror the skittish real-life subject at the core.

Spoiler:>>> moment to take away: the moment Franco whips out his camera, and with bewildered amazement, takes that last snapshot of his severed limb hanging out of that rock. <<<Spoiler
post #2 of 46
Well, I didn't faint but I did flinch when he cut that nerve in his arm. The whole crowd was groaning and looking away like crazy the whole scene, though.

It's not Boyle's best work, and probably not even in his Top 3, but it's still one of the better movies I've recently seen. I might need to see it again to properly judge the whole hallucinations angle and how they tie the structure and themes of the film together, but my knee-jerk reaction is that they faltered a bit in their purpose. I don't know if by vagueness or overkill, but like I said, a second viewing is probably in order.

I do feel this going to be one of those movies with a great performance (Rescue Dawn, Buried, etc.) that'll probably won't get much recognition in the end, at least awards-wise. No particular reason, just a gut feeling.
post #3 of 46

my favorite film of 2010 so far

It's definitely my 2nd favorite Boyle film after TRAINSPOTTING. I loved every frame of this movie. Yes, split-screen transitions are way overdone, but he always has such kinetic style to his editing. I feel like I emotionally connected more to this story, which probably puts it high on my top ten of 2010. I go to movies to be moved & challenged, and this one did both for me. Franco was excellent. Probably the only criticism is that there are a few too many hallucinatory moments that could've been trimmed. There's a recurring image involving a couch, however, that really hit home for me... the way that it's utilized. By the end, I was a mess, and in the best way possible. Plus, he used a Sigur Ros song, and that automatically tends to evoke emotion in me (Whether it'd be considered a manipulative use of music or not).

A film this reminded me of is FEARLESS with Jeff Bridges, in how it impeccably creates tension in how one chooses to deal with their own mortality. Denial... acceptance... the struggle... all really represented in a confined space that Boyle really worked well with. I think this is a phenomenal piece of filmmaking. I can understand if folks aren't as viscerally affected by it, but I sure was. Also, claustrophobic films do wonders on me. This and BURIED would make a great double bill.
post #4 of 46
The most triumphant film I've seen in a while. In the end, when Ralston is yelling for help, finally after so many years actually needing someone because he's been such a self involved jerk I was damn near crying. Partly because it was a well done scene (the score by A.R. Ruhman is fantastic) but mostly because, unlike any other film in a while, this one was like looking in a mirror. I saw myself in Franco, could relate to him and his inward struggle (haven't been pinned against a rock and hope not to) more than I ever thought.

Is it sad that when he finally got down to the nitty gritty of chopping his arm off, my first thought was 'Damn! They have to update the CHUD Self Surgery list for this!'?
post #5 of 46
post #6 of 46
This is a really powerful movie. It's definitely my favorite of the year so far. Boyle and Franco really flexed their muscles with this one.

I never flinch or squirm from gore but when he's trying to cut the nerve, jeez that was tough to watch. Really tough.
post #7 of 46
Thread Starter 
By the way, tip of the hat to the foley guys on this one. That sound (you know the one I'm talking about) was more cringe inducing than the amputation.
post #8 of 46
I was surprised about my reaction during the cutting scene. At first I wasn't shocked or repulsed by it, but found it to be oddly moving and life-affirming. Then he hit the nerve and I wanted to vomit.

Also, glad they decided to go with 127 Hours and not the original title, Saw 8.
post #9 of 46
I thought it was fantastic. Boyle and Franco knocked it out of the park (or canyon, rather). Very uplifting ending where I just might have gotten something in my eye.

It wa fun watching the audience during THE scene. It was like an electric current was being zapped under everyone's seats. A couple in my row literally got up and left during that.

I did find it amusing that one of the most suspenseful scenes in the movie revolved around whether Aron was going to waste precious fluids on whacking it to Kata Mara's image.
post #10 of 46
I could never do the shit Aron starts out doing in this movie, let alone the surviving for 5 days on water and pee. I could deal with a cave where there's room for me to walk, but crawling or squeezing through tiny passages. Couldn't do it.
post #11 of 46
Quote:
Originally Posted by MikeShaynePI View Post
I could never do the shit Aron starts out doing in this movie, let alone the surviving for 5 days on water and pee. I could deal with a cave where there's room for me to walk, but crawling or squeezing through tiny passages. Couldn't do it.
Yeah, this is not a movie for the claustrophobic.
post #12 of 46
It's hard not to think of Into the Wild, or how much better 127 Hours is than Buried, but the film I keep coming back to is Funny Games. It's rare for a movie to remind me of just how detached of an observer I tend to be at the theater, that scene, though, I could barely fucking breathe.
post #13 of 46
Great review Renn it's becoming a real treat to read those btw!
post #14 of 46
Just came back from a free screening of this. Felt James Franco gave a great performance. Didn't feel that connection to the film. Maybe I knew too many details of the film before I got their. Only thing I really reacted to was the amputation scene. That i really felt like looking away --but stayed with it. I would put this in my top 10 for the year. But still holding out for Social Network or Inception for Best Picture.
I didn't recognize any of the music in the film so this means I'm totally out of the loop musically.
post #15 of 46
Absolutely loved it. It would make a nice double-feature with Touching the Void.
post #16 of 46
Saw this and just want to echo that it really is a fantastic movie. Something about the kinetic editing and the split screens helped me connect with the quieter moments a bit more.

The hallucinations are definetly an aspect of the film that I could understand to a point. I really would like to see this again to delve into how each of them relates to Aaron and the moment he is in.

And yeah, I'm not sure what made me squirm more, that nerve or getting ready to watch dying James Franco rub one out.
post #17 of 46
This was tremendously great. Easily the best work Franco's ever done and may very well be the best film Boyle's ever done.
post #18 of 46
Agree with Nordling that it's Franco's best work, he really comes alive as Aron and I really bought into those moments when he's remembering the past GF and all the little moments that made her special. He did a great job and showed some acting chops that I hadn't really seen before.

I don't think this comes anywhere near Trainspotting as Boyles best, but another viewing is required before I can place it, but it was definitely up to the par that I set for him.
post #19 of 46
This is the movie where James Franco's really proven himself as a dramatic actor. Before Pineapple Express I had pretty much written the guy off, and then he was absolutely hilarious in that movie and prompted me to check out Freaks and Geeks which he was also great in. But it wasn't until this film that I really felt that he brought it as a dramatic actor and he's fucking great in this. A totally captivating and visceral performance.

Watching this I kind of felt like this is the first film Boyle's made that really felt like a successor to Trainspotting to me. I think Trainspotting is one of the best films of the 90s if not one of the best films period, and while I love 28 Days Later and don't mind Sunshine, I didn't care for Slumdog, but this was streets ahead. Kinetic, emotional, visceral, and totally engaging, watching this was more like watching Trainspotting than any of those other films. Great film, definitely in my top five of the year.
post #20 of 46
This is the best movie I've seen that I'm not sure I could sit through again.. if that makes any sense. I really, really loved it.. but goddamn it was hard to watch. Franco blew me away and just totally owned every second he was onscreen - which was essentially the entire runtime.

While I'm not immune to getting choked up at movies, it is pretty rare for me.. so I was surprised to find myself snuffling throughout the last ten - fifteen minutes. I just about lost it when they showed the real Ralston at the end while the text noted his premonition of his one-day son became a reality.

On the walk home from the theater I just couldn't listen to my iPod, try as I might.. I had to shut everything else out and just soak it all in. By the time I got back home I was in tears again. I'm not even sure why, to be honest... I mean, the guy lived and went on to have a family of his own. I'm going to have to sit on this one for a few days to unravel what really hit so close to home for me.

I know he wouldn't win, but if Franco doesn't at least get a nomination for this it will be a fucking shame. He totally nails it!
post #21 of 46
I wouldn't say the film was difficult for me to watch at all, in fact I found Franco to be rather engrossing. To be honest the worst part of the film for me was the ending where we saw the real Ralston, I thought that was pretty unnecessary.
post #22 of 46
Just came back from the theater and I loved it. I tend to view these one location tales of survival as a real testament to a filmmaker's skillset and Boyle doesn't disappoint. Here he goes full-on subjective and as a result, sets it apart from every other story like this (Touching The Void, Castaway, etc.) Those daydreams and escapist hallucinations, along with Franco's fantastic performance, really do a great job of keeping us inside Aron's head. In that sense, the film is tons more successful than The Beach when the subjective filmmaking comes out of nowhere and derails the 3rd act. Even the flashbacks/hallucinations to his girlfriend work as a way of giving Ralston's need for survival added depth.
post #23 of 46
I don't think I've ever gritted my teeth as much as I did during this film. This movie had no story. It was a completely subjective experience of what it was like to be Aaron Ralston for those 127 Hours and on that front, it succeeds completely.

From what little I've read about the film, I'd expected it to take a similar structure to Slumdog Millionaire and have us go through Aaron's life in flashbacks while he was stuck between the rocks. I admired how sparse they were with such details. It wasn't about exposition, but more about the emotion of it. That vagueness made it really easy to project myself onto the film and become really moved by the film's final stretch. As differently as Slumdog is structured to 127 Hours, both films are similar in that they are immensely life-affirming. It practically screams LIFE. AR Rahman's score pulses with it. The cinematography and the techniques only add to it. But James Franco's performance makes it all come together.

And oh... the gritted teeth. Violence in movies don't really phase me, but this had me snarling and squinting one eye for minutes.

Due to my lateness, my friend and I came into the movie right as the split screen opening credits were zooming by. It was around Kate Mara's name, I believe. By the information in the text that ends the film, it seems like I missed a scene where Aaron has a premonition about having a family or something? What did I miss?

SCOOBY-DOOBY-DOOOOOOOoooooOOOOoo!!!
post #24 of 46
Quote:
Originally Posted by mcnooj82 View Post
I don't think I've ever gritted my teeth as much as I did during this film. This movie had no story. It was a completely subjective experience of what it was like to be Aaron Ralston for those 127 Hours and on that front, it succeeds completely.

From what little I've read about the film, I'd expected it to take a similar structure to Slumdog Millionaire and have us go through Aaron's life in flashbacks while he was stuck between the rocks. I admired how sparse they were with such details. It wasn't about exposition, but more about the emotion of it. That vagueness made it really easy to project myself onto the film and become really moved by the film's final stretch. As differently as Slumdog is structured to 127 Hours, both films are similar in that they are immensely life-affirming. It practically screams LIFE. AR Rahman's score pulses with it. The cinematography and the techniques only add to it. But James Franco's performance makes it all come together.

And oh... the gritted teeth. Violence in movies don't really phase me, but this had me snarling and squinting one eye for minutes.

Due to my lateness, my friend and I came into the movie right as the split screen opening credits were zooming by. It was around Kate Mara's name, I believe. By the information in the text that ends the film, it seems like I missed a scene where Aaron has a premonition about having a family or something? What did I miss?

SCOOBY-DOOBY-DOOOOOOOoooooOOOOoo!!!
It's the premonition he has about that kid right before he breaks his arm and gets to cuttin'.
post #25 of 46
Ohhhhh... I thought that kid was meant to be him as a little boy.

So, I didn't miss anything at the beginning?
post #26 of 46
Not really. The movie opens with that split-screen montage of civilization and then segues to Aron preparing for his trip. The sporting event where he splits with his gf is one of the locations used in the montage.
post #27 of 46
Thanks for the info, guys!

Another thing I loved... (unless I missed anything else at the beginning): The title "127 Hours" coming in well into the film. Reminded me of The Departed.
post #28 of 46
Quote:
Originally Posted by mcnooj82 View Post
Another thing I loved... (unless I missed anything else at the beginning): The title "127 Hours" coming in well into the film. Reminded me of The Departed.

You didn't miss anything else at the beginning (title-wise), and I don't know why but I love when movies have their title appear a good 20-30 minutes into the story. Eternal Sunshine does it also, and it just makes me feel good inside when I see the title pop up after a good bit of plot/action. Anybody know of the longest interval between start of movie and title showing?
post #29 of 46
Quote:
Originally Posted by scumbagsteve927 View Post
Anybody know of the longest interval between start of movie and title showing?
Well, there was a real noticeable trend a while back where there was no opening title per se-- instead it would flash at the end of the movie, but that got old quick.
post #30 of 46
I guess APOCALYPSE NOW?
post #31 of 46
TWINE had waited 19 minutes for the titles (the longest of any Bond film)
post #32 of 46
RAISING ARIZONA'S title swoops in about 10-12 minutes in, and I always get a smile a mile wide as a result.

Loved the film; the shot rising from Franco screaming out into the desolate canyon left me in awe. Probably my favorite Danny Boyle film.
post #33 of 46
I don't know if this counts (or if I'm remembering correctly), but I'm pretty sure that Passion of the Christ never displayed its title throughout its running time.
Edit: Nevermind. The title shows up 2 mins 35 secs into the end credits.
post #34 of 46
I didn't really like or think the film needed to have the dreams of his future son or the shots of the real-life Ralston family, but I don't think it ruins the film. It's a gripe that's bigger than a nitpick, smaller than a mood killer.
post #35 of 46
Unless True Grit is as awesome as I think, this surprised and ran away with best movie of 2010 for me.

Probably the best thing Boyle's ever done. It's leagues more inspirational than Slumdog Millionaire, more raw than Trainspotting, and scarier than 28 Days Later. Not to mention it's the complete opposite of The Beach.

Franco losing the Oscar is possible (especially with him hosting the Oscars), and it would be a crime if he did. Affected me to the point that it took me like five minutes to recompose myself after walking out of the theater. Aside from Where the Wild Things Are I don't think I've ever come so close to crying after a movie in recent memory.

And the placement of the title was unexpected and brilliantly utilized.
post #36 of 46
Loved it. My only nitpick would be the criminal underuse of Lizzy Caplan. Why hire a dynamic (if you doubt me, watch "Party Down") actress, then limit her to sitting on a couch and leaving a voice mail message? Might be more on the cutting room floor, I guess.

But, yeah. Great film.
post #37 of 46
Quote:
Originally Posted by mcnooj82 View Post
I don't think I've ever gritted my teeth as much as I did during this film. This movie had no story. It was a completely subjective experience of what it was like to be Aaron Ralston for those 127 Hours and on that front, it succeeds completely.
Really? I found it to be the exact opposite. I was surprised how much of a story and character arc Boyle was able to create from material like this.

Great movie, though I wish Boyle didn't resort to spelling Aron's arc out completely. Franco's incredible.
post #38 of 46
We probably just have different definitions of story here. I didn't think the film had a particular narrative/structure beyond that of a guy that gets stuck and has to get out. But it certainly has a lot of backstory and character that one can pull out from the details that are scattered throughout.
post #39 of 46

 

Amazing movie.  

 

Inovative, daring camera work,  great editing, sound, score.  Franco was fantastic.

 

Can anyone explain why Boyle wasn't nominated for best director??

post #40 of 46

Wow, I'm really left out in the dark on this one. Seemed utterly unremarkable to me and extremely over-rated. Granted, I've never been a big Boyle fan. I am, however, a huge Franco fan and even still, I can't get all the hype behind his performance or the film as a whole.

 

I mean, it's not a bad film at all. But it's the kind I'll watch, think, "interesting story," and then never really want to see it or think of it again. And that's not because of the graphic scene or anything. Just that it really did nothing for me and I didn't feel it was remarkable in the slightest.

 

Franco was impressive in that one "confessional" he does where he's acting out a talkshow with himself.

post #41 of 46
Quote:
Originally Posted by levrock View Post

Loved it. My only nitpick would be the criminal underuse of Lizzy Caplan. Why hire a dynamic (if you doubt me, watch "Party Down") actress, then limit her to sitting on a couch and leaving a voice mail message? Might be more on the cutting room floor, I guess.

But, yeah. Great film.


From what I hear, Boyle shot a more complete ending set at her wedding that involved his whole family coming together. I think he said he ditched it because it was too "on the nose."

post #42 of 46

I've never felt so elated at a mutilation before. After Aron cut himself loose I was thinking "Fuck you hand, fuck you rock, I win!"

 

I love how Boyle gets so energetic, joyous, even triumphant, telling stories of such adversity. He really is at the top of his game. And finally I want to find the guys that did the sound and punch them in the fucking mouth. The sound they used when he was cutting his nerve made my teeth hurt. Actually they still bother me when I think about it.  

post #43 of 46

This was a very good film.  But the abiding thing I am left with, is how the fuck does Danny Boyle not stop the film at "I need help!"?  What a missed opportunity for a rare perfect ending.

 

Come to think of it, didn't Into the Wild do the exact same thing?

post #44 of 46

Yeah, that would've been a THREE BURIALS-level ending.

post #45 of 46

 

"I need help!" was indeed a powerful, cathartic moment, but I liked the clips of one-armed Aron wandering around snowy mountains.  I assume it was actually him.

 

And the swimming pool scene was a bit weird but also oddly affecting, I thought.  

post #46 of 46


OK.. let me start by saying this was a good movie, and I am glad I saw it. Franco deserved his Oscar nod. Before I go on, first a word of polite warning: In a bit, I'm going to share my own thoughts in depth, and I suspect they may not be popular. I think I hold a minority opinion on this one, and my reasons for posting this thread are simply to share my views and discuss the film. If you don't want to hear from someone who is going to criticize Aron Ralston, skip over this and move right on to posting up your own take on 127 HOURS! redface.gif

----------------------------

I'm a Danny Boyle fan, and while I've at times been cool to Franco's charms, here he made for a fairly compelling lead. It was an exciting movie, and visually dynamic given the fact that the main character was stuck under a rock for most of the running time... but for whatever reason I came away more pissed off than energized. More aggravated than enlightened. I feel bad for picking on an amputee who suffered through what was no doubt an horrific ordeal, but this Ralston character comes off as a happy fool, not a stoic survivor. I got the feeling that I was supposed to find his journey affirming or inspiring in some way, but instead I felt like he was making decisions that directly imperiled his life at every turn, deluding himself until it became clear his delay tactics were leading to his imminent death. Yes, I've never been in a life or death survival situation, and yes, I'm sure it's tough to face the choice to cut off your arm... but that choice should have been obvious to him within 20 minutes of being stuck. I'm something of a Bear Grylls devotee, and if Ralston had seen but a single episode of MAN VS WILD, he'd have known that he was making enormously terrible decisions from the outset, dramatically lowering his chances for survival as a result. Instead of feeling like Ralston possessed any particularly virulent breed of courage, I was left with the impression that his refusal to confront the reality of his situation needlessly put him at death's doorstep. Bear wouldn't have liked this movie, let's put it that way

The second you become trapped/stranded? You have a decision that must IMMEDIATELY be made. Are the odds of a rescue better than your odds of survival should you attempt to flee on your own? If you're trapped on a desert island (or beneath a large rock), you have limited supplies of food, water and strength. If it seems unlikely you'll be rescued by an outside force in time to save your life, the ONLY choice is to make a break for it ASAP. From the moment you become stuck, your physical condition begins to decline and that deterioration will only accelerate in time. You will never be as healthy/strong as you are at the moment you become stuck, and the longer you put off the tough choices the weaker you'll be when it comes time to act. The first thing he should have done was to realize that rescue was unlikely, that he still had a 20 mile hike back to safety to deal with even after he freed himself, and that his body needed to be in peak form for him to survive such an ordeal. He has extremely limited water and food, and there was the very real risk that should he begin the amputation in an already weakened state, he could pass out and bleed to death and die. Therefore it's key to begin the procedure immediately. Even waiting till the next morning posed risks (the cold stone would sap energy from his body leaving him frail), but I can understand the desire to at least see if a pulley system could be successfully rigged before he started hacking into his own limb. When that failed though? There was no longer an excuse to put it off. Ralston waited till he was on deaths door, and only decided to chop off his arm when he sensed the end was imminent. This was not the course of action of a brave and canny adventurer, this was the last refuge of a man backed into a corner like a scared animal, no longer able to delude himself there were any other options

Boy howdy did he try though.. he waited an inexplicable ONE HUNDRED AND TWENTY SEVEN HOURS till his food and water supplies were gone and his knife had been worn to a nub before he steeled himself for the inevitable. For this viewer, the movie became a grueling slog waiting for this guy to face up to reality and take the only logical choice left to him. Instead we're treated to the Aaron Ralston reality show, watching as he wastes time and energy filming himself as he delivers goofy monologues, achieving nothing other than to waste his own strength and decrease his odds of survival. I can understand leaving a message for your parents and loved ones. That takes 20 minutes though, and any time spent on videography after that point comes at enormous cost

Had Ralston chopped his arm off after, say, 15 hours (he became trapped at 3PM, and might not have been able to try a pulley till the next day)? He'd have been someone I'd be impressed by. He'd have been able to hike back on his own, saunter up to the hospital and tell them to "sew this up!". Instead he dooms himself through inaction, in the end surviving only because he happened to stumble across other humans out of sheer blind luck. There was no way to count on that, and had he not found that puddle water? Had those hikers not seen him? His 127 hour odyssey would have ended in tragedy. Sure, he chopped off the arm at the last second, but he'd already waited so long that he'd signed his own death sentence. He survived because of luck, not skill or courage (IMHO), and when I look into my heart and know that I'd be able to lop off my own limb in a heart beat if confronted with a similar choice? It's hard to root for Franco. It's like when a character decides to go outside at night to explore that spooky noise they heard in a slasher movie. When a character is that dumb, it's tough to respect them. Going by the title, it's as if Boyle expects us to be impressed Ralston survived as long as he did. Instead, I can only wonder what on earth took him so long

Aron should have told someone where he was going, or carried a cell.. but we all make mistakes. Accidents happen, and I don't blame him for being young and foolhardy and finding himself in a bind. What you do at that decision point is what counts, and that's where his most grievous mistakes were made. That's why I am unable to get fully on board with Boyle's hagiography

PS Oh, and since he ruined his knife, he should have cracked the camcorder open, taken the wiring and used it to slice through his arm by looping it and then drawing it back and forth. Surgical wire is used in hospital settings for amputations, and it seems like there would have been enough in his various gadgets to pull it off. This could have bee accomplished with one hand and his mouth, taken less time and left a smoother wound


Edited by Princess Kate - 9/26/11 at 9:47am
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