Genre: Drama
 
Director: Danny Boyle

Writers: Danny Boyle & Simon Beaufoy, based on the book Between a Rock and a Hard Place by Aron Ralston

Cast: James Franco

Running Length: 94 minutes

Synopsis: 127 Hours tells the true story of Aron Ralston (James Franco), an adventurer who makes the mistake of embarking on a canyoneering trip without letting anyone know where he’s going. A freak accident finds Aron trapped in a crevasse, a boulder crushing his right arm and pinning him down. He tries everything to try to free himself, but with only a small number of tools – including a blunt utility knife – Aron realizes that he may very well die in the crevasse if he doesn’t take drastic action.

Review: With 127 Hours, Danny Boyle has managed to film what seemed like an unfilmable account – how do you make the ordeal of a lone adventurer being trapped in a canyon for five days an interesting commercial film? It’s impressive what Boyle had achieved with what is essentially a static movie, and is very reminiscent of how Buried played out almost entirely in a wooden coffin. This isn’t exactly an action film nor is it a thriller, but 127 Hours is very captivating, thanks to an excellent performance by James Franco and the masterful direction of Danny Boyle. However, the more squeamish should be warned that there is an extremely graphic and realistic sequence later in the movie which may make for extremely disconcerting viewing. 

Apart from the first fifteen minutes of the film (which features some fantastic landscape shots of the canyon), and a brief interlude which introduces Aron Ralston and his encounter with two lost female hikers, 127 Hours basically sticks with the protagonist throughout his five day ordeal. This means that James Franco is basically in every scene, every step of the way, and much like Natalie Portman in Black Swan he gives the performance of a lifetime. It’s intense and yet totally believable, and the audience is led to feel what he feels every step of the way. Although there are fleeting flashback and fantasy sequences, the focus never moves away from Franco for long. Like Ryan Reynolds in Buried, this is the role that breaks Franco away from the classification of “featherweight thespian”.

(Some viewers may be familiar with the story of Aron Ralston, but those who are not may do well to skip over this portion of the review if they wish to avoid spoilers.) Danny Boyle follows through Aron’s entire ordeal, including his decision to finally self-amputate his trapped limb to save himself. This now-infamous scene is filmed “as is”, the camera not shying away from the complete process, documenting in excruciating detail how Aron fractured his arm then slowly hacked away at his own soft tissue with a blunt utility knife. Although there are far gorier scenes in slasher or horror films, this particular sequence is much more believable and as such is far more difficult to sit through. 

Although 127 Hours may tend towards being a little too showy at times (in particular the fantasy sequences), it cannot be denied that Danny Boyle has managed to create a very resonant film that will stick in the minds of many viewers for a long time. He takes more artistic license than most of the documentarians that have featured the same story, but this is an uplifting (at least at the end), inspiring tale about the strength of the human spirit that deserves to be seen by a wider audience.

Rating: * * * (out of four stars)

Genre: Drama

Director: Tom Hooper

Writer: David Seidler

Cast: Colin Firth, Geoffrey Rush, Helena Bonham Carter, Derek Jacobi, Guy Pearce, Timothy Spall

Running Length: 118 minutes

Synopsis: Beginning in 1925, The King’s Speech tells the story of Prince Albert (Colin Firth), the second son of King George V (Michael Gambon). As he’s not the eldest son, he is not expected to ascend to the throne. However, when his older brother Prince Edward (Guy Pearce) abdicates after the death of their father, the unwilling Prince Albert is forced to take his brother’s place. Albert’s wife, Elizabeth (Helena Bonham Carter) is equally unwilling to take up residence in Buckingham Palace. Also, the King is expected to make live speeches over the radio, another problem arises – Albert has a severe stuttering problem, and renders him virtually incapable of public speaking. In an attempt to rid himself of this speech impediment, he seeks out Lionel Logue (Geoffrey Rush), a speech therapist harking from Australia and is known for his unorthodox (but effective) methods. The importance of overcoming his stutter is increased when the world is on the brink of descending into another World War, and Albert has to inspire and lead his people into war. 

Review: The synopsis for The King’s Speech may make it out to be a stuffy, boring biopic, but the end result is anything but. In fact, The King’s Speech is likely to be one of the most satisfying cinematic experiences in 2011, with an accessible, fascinating storyline (and a true one, at that), and some of the best ensemble acting I have seen in years. All the acting award nominations and accolades that the cast have received so far this awards season are truly deserving. Coupled with the polished, rousing screenplay and the assured direction of Tom Hooper, and it’s easy to see why The King’s Speech will end up as one of the best films in 2011 despite its early release date. 

There’s no denying that Colin Firth is an excellent actor, and in The King’s Speech he gives a performance that mirrors Helen Mirren’s equally brilliant turn as Queen Elizabeth in The Queen. Firth completely immerses himself in the role, effectively transforming into Prince Albert, and easily becomes the emotional centre of the movie. It’s not easy acting out a convincing stutter, but Firth more or less nails it.    Colin Firth deserves not just his Oscar nomination, but the win itself. 

Geoffrey Rush has the unenviable task of being cast opposite Firth as his foil, but Rush more than holds his own with a equally good performance as the quirky speech therapist who doesn’t quite know how to deal with a “celebrity client” like Prince Albert. Helena Bonham Carter is delightful in her small number of scenes, and the added bonus is that both these supporting actors have very good chemistry with Firth. Even the minor characters are rather impressive – Timothy Spall does a pretty convincing interpretation of Winston Churchill, and Michael Gambon exudes a regal air as King George V, amongst others. Fans of the Pride and Prejudice mini-series that made Colin Firth a household name would also be pleased to note that Jennifer Ehle, his co-star in the series, also shares screen time with him in The King’s Speech as Lionel’s wife (this is their first collaboration since P&P). 

The final scene of the movie, which revolves around the delivery of the titular speech, is a stellar example of top-notch filmmaking – the environment is sparsely adorned both visually and aurally, and only the two performers, Rush and Firth, factor into the scene. Hooper leads the audience into focusing on the back-and-forth that occurs between the two actors during the delivery of the speech, and when it concludes, it’s almost impossible to not feel a sense of exhilaration at what had just transpired. There’s no fancy camerawork, no visual trickery, and definitely no 3D – The King’s Speech harkens back to a time where films are taken solely on their core merits and not the pointless frills, and this it does very, very well. 

Rating: * * * * (out of four stars)

Genre: Drama

Director: Clint Eastwood

Writer: Peter Morgan

Cast: Matt Damon, Cecile de France, Frankie McLaren, George McLaren, Jay Mohr, Bryce Dallas Howard, Thierry Neuvic

Running Length: 129 minutes

Synopsis: Hereafter revolves around the stories of three unrelated people who are touched by death in different ways. George (Matt Damon) is an American who used to be a real-deal psychic, but quit to become a factory worker when his unique gift becomes the bane of his existence. Marie (Cecile de France), a French journalist, has a near-death experience when she comes face to face with a tsunami whilst on a vacation. The incident opens her eyes to what she thinks is the afterlife, and changes her view on reality. Finally, there’s Marcus (George McLaren), a London schoolboy, who loses the person closest to him. Unable to deal with the loss, he desperately seeks a way to reconnect with the departed. Eventually their three paths intersect, forever changed by what they believe might – or must – exist in the hereafter.

Review: Contrary to what the trailer suggests, Hereafter is not strictly a supernatural drama in the veins of The Sixth Sense. Yes, it does deal with the afterlife, and Matt Damon’s character does indeed see dead people, but Clint Eastwood’s latest directorial offering can be more accurately described as a made-in-America French movie, deliberately paced and minimalistic, which is likely to turn some viewers off. However, Hereafter is a very well-acted and compelling human drama, and although it’s rather unfocused in the first two thirds, patient cinemagoers who are willing to give this film a shot will likely find themselves richly rewarded by the time the end credits roll.

Although all three plot threads are somewhat interesting, the storyline revolving around Damon’s psychic character is by far the most riveting. However, because the movie is structured in such a way that the plots remain wholly separate till the last half hour, it can get frustrating when the film pulls away from George to focus on Marie or Marcus. The eventual convergence of the three characters and their resolution also feels a little too convenient, but at least Eastwood’s direction never descends into the maudlin. There’s also this nagging sense that each of the three stories would have had enough material to sustain its own movie, and Eastwood’s attempt to balance all three, and not being entirely successful, is what prevents Hereafter from achieving true cinematic greatness.

Aside from the structural issues of the movie, the rest of Hereafter is about as good as it gets. The lead actors all put in excellent performances, but the standout is the young McLaren twins, plumbing an amazing depth of emotions with their riveting performance. Matt Damon also deserves kudos for a very understated, internalized but convincing turn as the tortured psychic, who has to deal with so much pain from all the psychic readings that he has shrunken away from meaningful relationships and human contact.  There’s also the very harrowing opening sequence of the tsunami devastating the seaside resort, and although the CGI borders on being hokey, the emotions generated by the scene is anything but. Clint Eastwood has proven his directorial strength time and again, and while this film may not rank amongst his best, Hereafter is still far better than most of the cinematic chaff that has been released of late.

Rating: * * * (out of four stars)