127 Hours (2010)

Danny Boyle never lets the camera rest in 127 Hours, even though the whole story happens in one spot. The opening is crowds in triple split screen and music that never lets up, and later he cuts away to dreams and memories when the quiet would hit harder. Then James Franco carries it all. He’s alone on screen for most of the 94 minutes, recording messages on a camcorder, cracking jokes to stay sane, slowly facing the fact that the guy who told nobody where he was going is him. That realization is the real gut punch, more than the rock. The film treats Aron Ralston’s true story with respect, and the choice he has to make is handled with care, not as a stunt. It earned a 93% from critics on an $18 million budget. An 8.1 because Franco is incredible and the style sometimes gets in the way of the stillness. $2,191 says you text somebody your plans before your next hike, even if it’s just a loop around the park.

What works: Franco holds a whole movie together from one spot, and the film never stops treating the real man at its center with respect.

What doesn’t: Boyle’s flashy editing and dream detours sometimes break the tension when staying still with Aron would have hit harder.

Who it’s for: Anyone who wants a true survival story that’s tense and moving without turning into a horror show.