Boyle and Simon Beaufoy and Christian Colson are also the writer and producer of the award winning film Slumdog Millionaire.
However, it is also a very good film with Boyle really making it his own to the benefit of the material, avoiding the traps of sentiment that so many would have fallen into and producing an engaging situation while Franco matches him with a strong performance that easily holds the attention.Watch 127 Hours Online: 127 Hours is a 2010 biographical adventure film written Boyle and Simon Beaufoy and produced by Christian Colson. Overall 127 Hours is not the big Saturday night drama that it is billed as, it is an indie film that is very contained and not an easy sell if we're honest. Perhaps we don't get his full character but in terms of the film the performance was really engaging and convincing. He has to do a lot of thinking on his face and he makes this work while also letting his character change over the course of the ordeal. Franco is key and this did worry me since Bole says he cast him after seeing how excellent he was in Pineapple Express – a sentiment I really don't agree with, although I though he was likable in a story that was not so likable. The soundtrack is odd a times but mostly works really well. That said, I think that this loss is a price worth paying because it does visually engage and these flourishes and style adds more than it detracts. The one problem that his direction does cause is that I never felt trapped with Aron, because the camera was moving out and around so much – I know they shot it in deliberately confined setting but this didn't really come through. I thought the idea of "self-revelation flashbacks" sounded cheap and obvious as a device, but Boyle does it really well, making them partially remembered, flashes and even when our character is "in" them, he is still "in" his current predicament – hard to explain perhaps but it worked much better than a complete scene as a flashback. It is really well scripted though and Boyle really delivers in terms of putting it on the screen.
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Most of us will know where it is going and the question is how will the next 80 minutes be filled? The content of the film is indeed the character beating himself up a bit over who he is, struggling with hallucinations and become more and more fevered until he decides that he has to do what he has to do. We have very little time in the film before our character is alone, down a hole and trapped alone. In fact, Boyle appears to be working against that as much as humanly possible.
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Having said that though, in regards the second challenge, thank God that this is a Danny Boyle film and not something picked up by the TV networks or less imaginative director, because this could have been corny, obvious, sentimental and cloying. So, while it is really good that he made the decision to do a project he wanted to do rather than cashing in with the "big" Hollywood movie, it may lead some to expect something that the film never pretends to be. The problem with the first thing is that, while these things are true, 127 Hours is essentially an independent movie, not a massive blockbuster and it is the sort of smaller fare that critics love and audiences discover – it isn't the film I expect to be on every other bus shelter. This plot could easily be on the Hallmark channel daytime schedule right now complete with corny "I'm learning to be better" music and warm, safe colours everywhere. The second of them is the plot in which essentially a rather arrogant and spoilt character gets himself into trouble and gets out of it by learning a "lesson" about the error of his ways. The first thing is that this is the first film from Danny Boyle since the runaway success of Slumdog – so he is a "big" director now and accordingly the posters for this are everywhere and awards are being muted, the star of Pineapple Express is in the lead and audiences are making it their Saturday night choice. There are two things that could or might work against this film.