127 óra

Egy idő után "szubjektív" 5*-ra emelem, mert ez a vércsoportom. Danny Boyle ismét bebizonyítja alkotói egyediségét és azt, hogy szinte bármilyen történetet képes audiovizuális játék segítségével lebilincselően elmesélni. Egy igaz eseményen alapuló bensőséges drámában, és egyetlen színésszel nem riad vissza az erős kameraszűrőktől, a gyorsításoktól, a kép több részre osztásától, vagy az állandó visszatekintésektől. Ezek olyan eszközök, amelyek egy ilyen műfajú filmben alkalmatlanak és zavaróak is lehetnének, de a 127 óra éppen ellenkezőleg szépen halad, sosem unalmas, ugyanakkor a legkevésbé sem lazít a főszereplő lelki állapotára való éles koncentráláson. Nagyszerű, szinte kivételes, boldogság könnyeit fakasztó film. (2011.06.08)

After the third screening, it's clear to me: this film has matured and offers much more than a first superficial viewing might suggest. What hightlights it above all is its playfulness. It’s packed with so many directorial ideas and visual tricks, visual and sound games (functional flashbacks, image splitting, refreshingly chosen music) that watching its atypical narrative is a joy – this despite the slightly morbid climax. James Franco is a great actor in this film, and Danny Boyle is a genius. (2011.08.14)

Yeah, Boyle and Franco probably did the best they could under the circumstances, but the fears I had before the screening turned out to be true: the premise is good for an autobiography, but not for a feature film. To allow the camera to leave that unfortunate wedged guy at least for a while, the script includes flashbacks and hallucinations that are pretty annoying and pathetic, though I understand the dramatic reasons behind them. But, considering the possibilities the creators had, the film is very brisk and energetic and Boyle again shows his strength: the blend of music and images. The ending (when the “action” is behind) managed to arouse some emotions. However, I still have mixed feelings about 127 Hours and I would love it if next time Danny chose more story-rich material. 7/10 (2011.02.07)

This is Touching the Void in a more cinematic, but less emotional package. Boyle cuts back on the poignant sequences and instead serves up a minimalist tale of one self-centered fop for whom a smaller rock was waiting to show him that ego isn't everything. The cinematography, music, editing, and especially the acting are incredibly captivating for the entire ninety minutes, even if all of this can be summed up in a single sentence. Maybe this is how you recognize good filmmaking, and maybe this is what works better than all the sad sights from the slums. But then again, it doesn't collect gold-plated statuettes. (2011.01.10)

It can be argued that 127 Hours has no great overlap, and that it is simply a post-modern stylized testimony of courage and desire to survive. It can also be argued that subliminal stressing of fate and miraculous hunch smacks of melodramatic cheesiness. A lot can be argued about, but what really counts is the experience. Pain, despair, fear, and above them a triumphant animal desire to escape and live, no matter what it takes. And 127 Hours has plenty of raw experiences to give. That's why this is an exceptional film and one of the most intense experiences of pain I've ever experienced in a movie theatre (Gibson and his biblical exploitation should study how it's done "for real"). (2011.01.12)