Haha I cant believe this fucking worked! Thought they'd have taken it off me by now!
Like last year's Human Centipede, 127 Hours has ridden it's own infamy into the limelight of fame. If you have not yet heard about 'the movie where that dude cuts his arm off' then you should probably renew your subscription to Empire Magazine.
Unlike Centipede, Danny Boyle's dramatisation of Aron Ralston's story delivers. They must have known from the start it would be a tough film to pull off without dipping into Saw-like gruesomeness, and perhaps that's why this film is so well-crafted. Nuanced, creative camera-work immerses yourself in Aron's body as his physical state rebounds from one end of the spectrum to the other. The soundtrack colours and softens the visuals with mood and ambiance. It has an amazing habit of drawing you in with brass-balls rock tracks, before plunging deep into tension and suspense.
James Franco's performance in particular is phenomenal in it's vitality, intensity, and disarming sense of humour. When he's onscreen (which is nearly all the time) he inhabits his character with an undeniable fullness.
When the moment everyone's been dreading finally comes, you'll notice that people start laughing. Apparently when a man hacks off his own arm in front of you, the only healthy reaction is to chortle manically.
Dismemberment has become almost par for the course in cinema. Kill Bill clocks in at the hundreds, with discarded limbs, head and torsos littering the set like so many abandoned clothes. Why is it, then, that 127 Hours scares people so much?
After inhabiting his skin for so long, empathy brings this ordeal into your own consciousness. Yet instead of mutilation, the act has become a final, painful bid for freedom. As much a character study as a story of survival, 127 Hours will see you leaving the cinema with a freshened view of life and the survival of tragedy.
- Jamie Wynen