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Just watched it and it was very good. 7,8/10.
Not only was it earlier before the huge cell phone boon, he was stuck in a deep recess in the middle of nowhere.
Just watched it and it was very good. 7,8/10.
Franco really went out on a limb with his acting on this one.
crofl who out there didn't see det one coming?
next comes mookie complaining that the le of the movie is very misleading because it's only like 90 minutes long, and they should have renamed it There Will Be Less Than 127 Hours.
agreed, scroh, imo
i had to kill james franco because it was a mistake....now it's time to erase that mistake i saaaaiiiiiiiddddd
Sorry to hijack, but CROFL CROFL CROFL wtf how did I miss this??? :::
But I heard the real guy tell his story on NPR. He didn't tell anyone where he was going IIRC. It takes a certain level of pompousness to go out into places like that alone, with noone knowing where you are.
Now the dude is rich as giving speeches across the world for 25-50K a pop.
It's not a matter of being pompous. It's just ignorance & misjudging what could happen.
I travel into the wilderness more often than not (I live at the foot hills of the Cascades), but I am prepared. There was a time that I would go out there by myself & not worry about making sure I had the right provisions or gear. You don't go out there thinking something is going to happen to you. You just think about the adventure you are taking. People of all skill levels get lost all the time. It's just a matter of being prepared (whether your alone or not)
Hmmm...so you are in the wilderness more often than not?
At least twice a week I'm out there. Either hiking, snowshoeing, or just enjoying the peace of nature.
Good for you.
I certainly plan to do the same once there aren't as many other great ways to pass the time as there are in college.
melting snow is probably the best reason not to live up north
This movie was superb. Franco did one of a job. The amputation scene wasn't that bad except for the nerve scene. The music and the painful facial expressions made it pretty damn realistic.
It even had its funny parts as well. This was a well done film.
It's the role.
Some actors are perfect for particular roles, and yet the same actor cannot give a good performance for a different type of role.
Normally I would suspect it was intentional, but I don't think he was crazy enough to want to live without his arm.
Although...
live like an average joe schmoe with a 9-5 job and 2 arms, or cushy speaking jobs and be rich with one arm?
oh, 2 posts and I didn't talk about the movie.
well, someone wrote a script about a dumb who
1) goes into the wilderness alone without telling anyone
2) jumps into ing holes in canyons recklessly
3) and finally natural selection grabs this fool and pins him down. so he is a crazy and cuts off his own arm because he can't unwedge/crack/break a small boulder with a multi-tool.
and people give a about this re ?
people actually PAY this man to speak?
"UH yeah, I had the will to live and cut off my own arm and not give up...." and forget the part that this idiot put himself in that position?
this film and this idiot getting paid to make speeches.
real will to survive are the hard working mothers and people around the globe who are smart enough not to go jumping in holes in canyons, work 2 jobs to support their kids, and still cook and clean for their children and never give up.
this is just hollywood desperately looking for some emotional, tug at your heart strings film.
you guys, im out.
That movie really sucked, here's my opinion why:
Considering his career-long interest in man’s alternately harmonious and hostile relationship with his environment, Werner Herzog would have been an ideal choice to helm 127 Hours, the story of climber and canyoneer Aron Ralston, who spent the ular duration at the bottom of Utah’s Blue John canyon, his arm wedged between a boulder and a rock wall. On the other hand, the film’s actual director, Danny Boyle (Slumdog Millionaire), proves an awkward fit for such material, engaging in hyper-stylized kineticism in an attempt to refract his tale through the very media-saturated filters that Aron (played by James Franco) himself embraced. Opening with a trifurcated screen drowning in pulsating music and awash in hustle and bustle – crowds clapping, running and praying, as well as fast food signs and Aron’s own constantly moving hands and eyes – Boyle immediately establishes the frantic hubbub that defines Aron’s Gatorade-fueled extreme-sports life. Once out in the vast mountainous unknown, Aron bikes hard and, soon thereafter, flirts hard with two girls (Kate Mara and Amber Tamblyn) he encounters, his digital video and still cameras always at the ready, so that even upon wiping out on his bike, he instinctively snaps a self-portrait. It’s a frenzied life played, recorded and replayed at light speed.
This happy-go-lucky fun comes to a grinding halt when Aron slips in a crevasse and an enormous rock lands on his arm, thereby immobilizing him in a remote hidden location. Rather than switching aesthetic gears to concentrate on Aron’s solitude, however, Boyle maintains his stylistic spazziness. Be it through impressionistic flashbacks, rapid-fire montages, or a habitual need to provide innumerable, largely unnecessary angles and perspective on a given image and scene, the director refuses to allow a minute to pass free from intrusive embellishment. As his water supply diminishes and thoughts of amputation become more pressing, Aron’s fear, desperation and loneliness should take center stage, and to his credit, Franco does his best to express his protagonist’s anxiety, for ude and regret amidst the sound-and-fury barrage perpetrated by Boyle. Such efforts, however, are ultimately overwhelmed by a flurry of cinematographic and soundtrack gestures (non-diegetic sound effects, ‘70s pop songs, smeary lenses and hazy hallucinations). From start to finish, the director proves so unwilling to let a moment breathe with sustained human emotion, or to linger in the terrifying silence and emptiness that surely filled Aron’s days and nights, that the film winds up operating at a palpable remove.
That disinterest in Aron’s quiet isolation becomes even more pronounced once the film begins dramatizing his memories of parents, an ex-girlfriend, and his unborn son, all of which – along with his first-person videotape monologues – convey the man’s self-imposed, pre-accident alienation from those who cared for him. It’s a theme that’s hammered home with thudding bluntness, such that the inevitable triumphant climax finds Aron screaming, with heavy symbolic import, “I need help!” That final note encapsulates 127 Hours, which, blessed with a true story of an adventurer challenging himself – mentally, physically and spiritually – in the unforgiving wilderness, persistently goes for the neat, tidy and obvious even as its scenario practically demands a more dreamlike, introspective treatment. A scene in which the trapped Aron eagerly awaits a brief touch of sunshine gets at man’s loving/violent bond with nature and history. Yet like Aron spying ancient rock-wall drawings, it’s a moment rendered superficial by Boyle’s surrounding look-at-me tomfoolery, as well as a glimpse at the type of pensive, oblique, quasi-mystical film that a less manic, more contemplative filmmaker like Herzog might have crafted from this amazing saga.
Here are some more of my personal takes on this subject:
A young adventurer is navigating a crevice between two mountains of rock. He steps on the wrong thing, falls about 20 feet, and ends up with his right arm crushed underneath a boulder. He can't get out. No matter what he does, he is stuck. No one knows where he is, no one can hear him scream - there's probably not a soul around for many miles. All at once, his life expectancy is less than a week. He's going to run out of water and die.
In "127 Hours," director Danny Boyle ("Slumdog Millionaire") tells the amazing true story of Aron Ralston, who didn't die but rather lived to write his memoirs ... with his left hand. How he got out is a matter of public record and is something virtually everyone will know going in, but knowing doesn't enhance the experience of the movie. It makes it even more excruciating. "127 Hours," about an unimaginably unbearable experience, is pretty much an unbearable experience of its own. And yet, it must be said, it's exceptionally well made.
Boyle takes a situation that's almost impossible to make cinematic: For about an hour of screen time, maybe more, James Franco as Aron is stuck under a rock. Aron wants to be any place but there, and so do we. Aron can't leave the rock, but we can easily get up and leave the theater. So Boyle employs memory sequences, fantasy sequences, breathtaking images of nature and perhaps a dozen shots so imaginatively conceived and framed that one can't help but feel awe at Boyle's visual mastery.
The problem is that "127 Hours" has the feeling of a film conceived for that very purpose, to be so static and lacking in narrative movement that there's nothing to notice but the director's flair. Boyle more or less keeps the enterprise from sinking, and yet for all his exertions, "127 Hours" is not exactly enjoyable. It's an ordeal for Aron and for the audience, too. Nor is the suffering worth it. The film does not have anything near a psychological or philosophical depth on a par with its visual inspiration.
It's just a story about a bad thing that happened to a happy-go-lucky goofball. He's an idiot when he gets stuck under the rock, but by the time he gets out, he's not an idiot anymore. He's not a hero, either, but he's tough as rock and has the guts of 10 men. This comes through in Franco's performance, but in a muted way, because he's not really Boyle's focus. Boyle's focus is his own virtuosity.
"127 Hours" is sometimes agony to sit through, sometimes dull to sit through, and some shots so gruesome, so gory and horrifying, that many viewers will never see them. They'll avert their eyes. Still, hardly 10 minutes ever go by without Boyle showing us something extraordinary. Sometimes it's a shot of the sun breaking into the crevice and warming the rocks. In another case, it's an extended fantasy sequence, in which cascades of water rescue Aron, and he shows up at an ex-girlfriend's door, begging for help.
Boyle does something remarkable with sound. Two or three times, when Aron experiences blinding, shrieking, inconceivable pain, Boyle shocks the audience with a loud, electric-buzzing sound that, in its harshness and suddenness - in the way it overwhelmingly becomes the only thing in the room - becomes a sonic analogue for pain. It's an impressive effect. When he's in pain, so are you.
So "127 Hours" is the work of a very talented person. But I can't imagine I'd have endured more than 30 minutes of it, were it not all in a day's work.
-- Advisory: This film contains strong language - if a boulder fell on you, you wouldn't just say, "Oh, fiddlesticks!" - and horrible, disgusting, disturbing scenes of gore and terror.
Ummm that boulder was 800 pounds or more. I am pretty sure he did EVERYTHING he could to free his arm. He was stuck there for days. No he isn't a hero, and his stubbornness cost him an arm and almost his life.
How was this not an example of real will to survive? The guy had that boulder pinned to his arm, had little food/water,had to drink his own piss to stay hydrated, and had a weak tool. He was faced with an ultimatum of either stay there and die or amputate his arm and live. Despite being an idiot for putting himself in that situation, what he did to get himself out of it was courageous.
When your life is on the line, instincts take over.
Hate the people who hype him up if it makes you feel better. You can hate his stubbornness as well, but don't act like he didn't try anything and everything he could to get free from that boulder. Don't act like an 800+ pound boulder is easy to chip away with a weak set of multi-tools.
Just watched this movie.
I thought Franco's performance was good. His facial expressions weren't too overdone, but you could almost always tell how he felt or what he was going through.
I didn't mind Boyle's dream scenes, or flashback scenes though since they portrayed what Ralston was thinking while he was trapped. I imagine that's what most people would think about if they were trapped down there for so long. I think he used them too frequently though. There were a few scenes where I thought Franco talking to himself, without any flashbacks, would have sufficed.
But most of that is just being nit-picky. The scene where he cuts off his arm was indeed graphic, but also realistic. I imagine that cutting off your arm would be lots of tugging and pulling at muscles and nerves, and that's what it looked like. Pretty painful too.
I also thought it was just the right length too.
I'll red box this but since I already know the story and most of those hours he was stuck is it all just about the drama? Was there any sex or violence, apart from what he had to do, or any explosions? How could it be that good?
Stick to the dumbed down movies dude.
This movie was excellent. People can hate James Franco all they want but he carried this movie. And the story was good. The guy didn't give up. He could have but he didn't. In the end, he wanted to live so he did whatever it took to live. And the Dido song was good too. That song should have won the Oscar. You can't give the Oscar to a song that's in a Pixar movie.
Well, I sure as hope so. He was practically the only one in it.
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