As nerve-racking as the whole predicament is, it's
 surprising how much humor manages to sneak in, with A.R. Rahman's 
Western-sounding synthpop score building from tension to ultimate 
triumph (with a boost from the original Dido collaboration "If I Rise").
 

http://www.variety.com/review/VE1117943437.html?categoryid=31&cs=1&nid=2562
 

  
    
      
      Telluride and TIFF 2010. 
Danny Boyle's "127 Hours"
      by David Hudson
      
      
        
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"Many tears were shed at the world premiere screening of 127 Hours at the 
Telluride Film Festival 
on Saturday afternoon," reports John
 Horn in the Los Angeles Times. "But few in the audience of 
some 500 cried harder than Aron Ralston, the 
hiker who famously cut off his right forearm and is the subject of 
director Danny Boyle's  
new movie. Boyle has described the film, which Fox Searchlight is  
releasing on Nov 5, as an action movie in which the hero doesn't move...
  Boyle appears to have taken that as a challenge."
Ralson's "experience is disconcerting enough just to think about, and
 to see it recreated, in Mr Boyle's characteristically fast-moving, 
immersive style, is jarring, thrilling and weirdly funny," blogs AO
 Scott for the New York Times. "At a question-and-answer 
session after the first screening on Saturday afternoon, Mr Boyle — 
director of Trainspotting,
 28 Days Later and of 
course Slumdog Millionaire,
 which snuck into Telluride two years ago — described himself as a 
thoroughly 'urban' type with no great love for or interest in nature. 
And the jangly, jumpy energy he brings to a story of silence, solitude 
and confinement gives the film an irreverent kick that deepens and 
sharpens its emotional and spiritual insights."

"As a harrowing 
survival film, the picture is first-rate, and Boyle, star James Franco and two 
ambitious cameramen make the most of a tight space and the suspense of a
 terrifying ordeal," blogs the Hollywood Reporter's Jay
 A Fernandez. "A word about that climactic act: Yes, it's 
excruciating to watch, even as all of us knew it was coming, since Boyle
 and Franco play it very realistically.... But it's the sound design 
that really captures the divine agony of Ralston's suffering. What he 
did is some kind of miracle."

"It's gut-wrenching in a queasy, 
horror-movie way — a shield-your-eyes-from-the-screen, 
chuckle-in-relieved-astonishment sort of experience, done incredibly 
well." Eugene
 Novikov at Cinematical: "James Franco, who is on screen 
alone for the vast majority of the film's short running time, is 
perfectly cast and excellent. A lot of 127 Hours' 
medical-procedure-like squeamishness actually comes from him — e.g. his 
look of stunned incomprehension as the dust settles and he first beholds
 his arm crushed under a boulder, and his still-disbelieving frustration
 as he realizes that it ain't gonna come loose."

Hitfix's Gregory
 Ellwood is "moved and shaken" and notes that "Boyle is assisted by 
exemplary cinematography credited to both Enrique Chediak and Anthony Dod 
Mantle. AR Rahman, who famously 
collaborated with Boyle on Slumdog, is back for a second go 
around with new songs and compositions that eloquently fit the mood 
(most appear to feature Dido in the 
vocals). Rahman is also pitch perfect in his score for the film's most 
dramatic moment, helping Boyle create the unexpectedly uplifting 
conclusion."

"I found some of Boyle's visual ideas to be running 
out of gas by the end of the film, and I imagine others might feel 
burdened by a sense of repetition, too," notes Kristopher Tapley at In 
Contention.


http://www.variety.com/review/VE1117943437.html?categoryid=31&cs=1&nid=2562





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