Movie Review Knives Out

Knives Out (2019) 

Directed by Rian Johnson

Written by Rian Johnson 

Starring Daniel Craig, Chris Evans, Ana De Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, LaKeith Stanfield, Toni Collette

Release Date November 27th, 2019

Published November 26th, 2019 

In a season when movies are doing their best to reach your emotions and move you in order to earn awards consideration, it is bold to release a movie that has little or no meaning. Knives Out is simply entertainment. There is no deeper meaning, no revelation about the core of humanity and no deeper message about existence. Knives Out is simply an entertaining, at times highly convoluted, mystery for entertainment purposes only. 

Knives Out tells the story of an elderly mystery writer named Harlan Thromby (Christopher Plummer). It has rather recently dawned on Harlan that his family is a miserable and selfish clan who’ve been thriving off of his success while never making anything of their own. At 85 and seeing his life coming to a close, Harlan decides that he’s going to cut off his family and everyone else except for his nurse, Marta (Ana De Armas), a genuinely kind woman who’s become his one true friend. 

On the morning following Harlan’s birthday, his maid finds Harlan dead in his study. Harlan has cut his own throat and bled to death. Though not the type many would peg for a suicide, it appears to be an open and shut case until a private investigator arrives. Benoit Blanc (Daniel Craig) has been hired by someone in the family to find out whether or not Harlan did kill himself and whether or not an expert level murder and cover up has taken place. 

The suspects in Harlan’s death include his daughter, Linda (Jamie Lee Curtis), her cheating husband, Richard (Don Johnson), Linda and Richard’s spoiled son, Ransom (Chris Evans), Harlan’s son Walt (Michael Shannon) and Harlan’s daughter in-law from a son who passed away, Joni (Toni Collette). Investigating the case for the cops is Detective Lt Elliott (Lakeith Stansfield) and Trooper Wagner (Noah Segan). 

Each of the family members attended Harlan’s 85th birthday and each informs the police and detective Blanc about their interactions with Harlan and what their motive might be to kill him. Holding the key to everything is Marta who is so innately good-hearted that she physically cannot tell a lie. You will have to see the movie to understand what that means but it is a wonderfully clever device in a movie filled with clever devices. 

Knives Out was written and directed by Rian Johnson who became famous for directing Star Wars: The Last Jedi but has always been a mystery director at heart. Johnson’s debut feature, Brick, was a noir mystery that transposed a Phillip Marlowe-esque story into the hallways of a suburban high school and did so with ingenious technique. With Knives Out, Johnson is aping the style of Agatha Christie to equally strong effect. 

Johnson’s hallmark is playfulness, a genuine delight with the mechanics of mystery. You can sense in the way he structures and paces his mysteries that he deeply enjoys leading audiences one way while taking his story the other way and bringing us around only when he’s ready. All the while, his wonderful characters keep us on edge with their colorful recriminations, shifting motivations and alliances. 

Knives Out also finds time to be genuinely funny with Daniel Craig delighting in not being under the yoke of his James Bond performance. Taking on a theatrical southern affectation, Craig’s foghorn leghorn act is wildly entertaining in ways Craig has rarely shown in his career. I grew tired of his stoic yet emo Bond after his first adventure and I’ve mostly tolerated him since then. Here however, Craig is effortlessly charming. 

Ana De Armas is also a stand out as a young woman desperately in over her head. There isn’t much I can tell you about her arc in the movie, everything she does could be considered a minor spoiler. What I can tell you is that De Armas is brilliant in her wide-eyed, increasingly frenzied manner. Marta drives the plot more than any other character in Knives Out and it takes a strong actress to hold that center against a wide array of bigger name, more colorful performers. 

Knives Out may be empty calories as a movie but who doesn’t love a few tasty empty calories. When something is this delicious it’s okay to indulge a little. It’s not a four course meal of Oscar worthy direction or performance but it is a wonderfully, singularly entertaining mystery populated by colorful characters and helmed by a director of impeccable taste and talent. If there is room on your Thanksgiving table for leafy greens, there is also room for pie. Consider Knives Out a delicious custard at the movie theater table. 

Movie Review Push

Push (2009) 

Directed by Paul McGuigan

Written by David Bourla 

Starring Chris Evans, Dakota Fanning, Camilla Belle, Ming Na, Cliff Curtis 

Release Date February 6th, 2009

Published February 5th, 2009 

Director Paul McGuigan directed the clever, funny, con-man comedy Lucky Number Slevin. It was his first feature and it should have portended great things for his career. Sadly for his Slevin follow up McGuigan chose Push, a terribly goofy comic book movie about psychic superheroes and a government conspiracy. Where Slevin was endlessly inventive, Push is predictable and sloppy.

What a shame.

Handsomely mild actor Chris Evans stars in Push as Nick a man on the run since his father was hunted down and murdered by a mysterious  government entity. Since then Nick has lived off the grid in Japan hoping to keep a low enough profile to be left alone. That all changes when Nick is discovered by a teenage psychic named Cassie (Dakota Fanning) who has had a vision about him and her and their deaths.

On the bright side, she's also had a vision about a young woman named Kira (Camilla Belle) who may be able to save them. Kira is the only person ever to escape from the shadowy government forces chasing Nick and Cassie and if they find her she could be the key to bringing the conspiracy down. Add in a helpful psychic con man (Cliff Curtis) and another more powerful psychic hiding out as a fake psychic (Ming Na) and you have a misfit team ready for battle.

The premise of Push plays not at all unlike the TV series Heroes. Both are about shady conspiracy, hunting down people with special abilities and wild special effects. Both are also wildly divergent in quality, Heroes can vary from week to week with good episodes and not so good ones. Push has one chance to work and fails.

I have been a little dismissive of the story potential of Push. There is certainly nothing wrong with a comic book style movie about superheroes. The key is making those heroes compelling and their journey interesting beyond their powers. Director McGuigan and screenwriter David Bourla fail this by vaguely defining the powers and muddying the government conspiracy premise.

Not that a cleaner narrative might have made much of a difference. The super powers on display, people pushing other people with their minds or controlling objects with their minds or seeing the future, simply are not all that interesting. The best superheroes have powers that comment on their personality. The abilities reflect the man (or less often the woman) and we learn something about them through their uniqueness.

No such comment or reflection emerges from Push. Instead we have a series of dull, uninspired effects scenes.

I expected much more from Director Paul McGuigan. Lucky Number Slevin was the kind of debut that promises so much more from a director's future. It was a far from perfect movie but a clever, funny, imaginative film. Push is nearly the complete opposite. Derivative and uninspired, Push is disappointing beyond Director Paul McGuigan. It's disappointing to have to have sat through such a lacking effort.

Movie Review Scott Pilgrim vs The World

Scott Pilgrim vs The World (2010)

Directed by Edgar Wright 

Written by Edgar Wright, Michael Bacall 

Starring Michael Cera, Ellen Wong, Mary Elizabeth Winstead, Chris Evans, Brandon Routh, Anna Kendrick

Edgar Wright has done something few directors will ever accomplish; he created his own visual language. In Scott Pilgrim Vs the World' Edgar Wright brought together the worlds of video games, comic books, and movies in a way that many have dreamed of but no one else has achieved. It is a blindingly entertaining combination. Even more than a decade later Scott Pilgrim vs the World remains the ultimate uniting of the movie, comic book and video game genres. 

Michael Cera stars as Scott Pilgrim, a bassist in a Toronto pop rock group whose name is some incomprehensible combination of Sex and Bob and something. They are awesome. Scott's real story however is that he is dating a teenager, Knives Chau (Ellen Wong), to the endless mocking delight of his band mates (Allison Pill, Mark Webber and Johnny Simmons) and his sister, Stacy (Oscar nominee Anna Kendrick).

The relationship is doomed however, not by the derision of his friends and family but rather by Scott's encounter with Ramona Flowers (Mary Elizabeth Winstead) an American girl with pink hair, a punk sensibility, and no apparent interest in him. This does not stop Scott from pining for her and eventually getting a chance to hang with her. That Scott is a genuinely good guy keeps this from being one of those creepy, nice guy irritates a girl into dating him stories. 

Naturally, this new relationship comes with obstacles. Emotional scars from our past almost always affect our current relationships but for Ramona, her emotional past comes in the physical form of seven evil exes. Scott must fight and defeat all 7 of Ramona's evil exes including former Superman Brandon Routh, the current Captain America, Chris Evans, a pair of twins, one bisexual surprise, a pair of DJ'ing twins, and Jason Schwartzman as the ultimate d-bag.

Plucky and in love as Scott is, he is a bit taken aback by the challenges involved in dating Ramona but he's also up for a fight and Scott Pilgrim Vs the World flies on Michael Cera's laconic neurotic approach to being a comic/video game superhero. Cera is at his best when he can relax and react as opposed to having to manufacture the laughs as he did in the abysmal Year One. He's very relaxed in Scott Pilgrim and it allows his natural comic instincts and charisma to shine through.

The supporting cast is top notch especially Kieran Culkin as Scott's gay roommate, Wallace, who shares a bed with Scott and his boyfriend who he calls Other Scott. Culkin matches Cera's energy perfectly and his gags register big laughs whether he's texting in his sleep or adding a second boyfriend to his stable of bedmates. Scott Pilgrim vs The World was ahead of its time in giving time to omni-sexual characters who aren’t defined by their sexual identity. 

Mary Elizabeth Winstead does a remarkable job of making Ramona more than merely the motivation for Scott. She has a presence that holds the center of the movie together and is believable as a woman who could inspire people to fight to the death for her. Until her role in Scott Pilgrim vs the World Winstead had struggled to stand out amid a bevy of young stars appearing teen horror movies. Scott Pilgrim may not have broken her out into superstardom but it did help her establish a place where she could grow up and find better roles. 

And, of course, there is Chris Evans. Scott Pilgrim vs the World provided Evans with the best role of his pre-Captain America career. Spoofing blow dried, doofus action heroes, Evans earns some of the biggest laughs in the movie and demonstrates range and charm that was missing from his vacant, lummox roles as teenage morons. I wholeheartedly believe that Captain America would not be possible for Evans if he hadn’t shown so much talent in Scott Pilgrim vs the World. 

Scott Pilgrim vs the World is hilarious from beginning to end while also having a big romantic heart. Michael Cera is just so much fun in this role and paired with Edgar Wright's incredible visual sensibilities, we have a can't miss pairing. Then there is that supporting cast. It's not hard to imagine the cast of Scott Pilgrim vs The World as part of the future of Hollywood. 

Movie Review Mr. Brooks

Mr. Brooks (2007) 

Directed by Bruce A. Evans 

Written by Bruce A. Evans, Raynold Gideon 

Starring Kevin Costner, Demi Moore, Dane Cook, William Hurt, Marg Helgenberger

Release Date June 1st, 2007 

Published May 31st, 2007

The career of Kevin Costner has had many ups and downs. He has been one of the biggest stars in the world and People Magazine's sexiest man alive. He's also been the most reviled man in Hollywood and a grand punch line after his triple failures, Waterworld, The Postman and Wyatt Earp. He has recently tried to reinvent himself as a character actor and a comeback kid, a perception fed by well received performances in The Upside of Anger and Open Range.

Now however, as he tries to reclaim leading man status; Costner is once again flailing. First, there was the disastrous Rumor Has It, a pseudo sequel to The Graduate with Costner as a middle aged Ben Braddock. Now comes Mr. Brooks a disaster of a different kind, one that isn't really Costner's fault.

"The Hunger has returned to Mr. Brooks, it never really left"

That is the opening title card to the new thriller Mr. Brooks, a title card that thrusts us into the midst of the madness of a man named Earl Brooks (Kevin Costner). Earl is a proud father, a loyal husband and a respected businessman who runs a major box company. However, in his spare time he is the thumbprint killer, a maniac who likes to pose his victims after killing them and then get off over the photos he takes.

He has been at this for years and for years has been careful to not get caught. He even managed to stop killing for 2 whole years with the help of  weekly A.A meetings, though alcohol never played a part in his compulsion. Then the hunger returned and he selected a pair of victims. Unfortunately, he wasn't as careful as he used to be. He left the curtains open and across the street, an amateur cameraman saw him commit murder.

Luckily for Mr. Brooks the cameraman, call him Mr. Smith (Dane Cook), is a sick puppy like himself. Smith doesn't want to turn Brooks over to the cops, rather he wants to learn from Mr. Brooks, he wants to kill. Thus sets up an uncomfortable partnership between the steely, calculating Mr. Brooks and the unnerved novice Mr. Smith.

That is just one of several plots running concurrently in this rather misguided take on the Dr. Jekyll, Mr Hyde mythos. Also jammed into this plot is a backstory and sub-storyline for Demi Moore as the cop investigating the thumbprint killer and another different killer and a credulity stretching plot for Danielle Panabaker as Mr. Brooks' daughter who may have inherited the serial killer gene.

A glance at director Bruce A. Evans' resume offers a few clues as to why Mr. Brooks  turned out so goofy. Evans wrote the lauded screenplays for epics like Cutthroat Island, Jungle 2 Jungle and Kuffs, a Christian Slater guilty pleasure that he also directed. Curiously, Evans hasn't directed since Kuffs. Maybe he was waiting for something that could match the goofball pleasures and squirm inducing discomfort of that early nineties crime comedy.

Mr. Brooks is certainly goofy but it's not supposed to be. It's intended to be a thriller but thrills are in short supply compared to the unintentional laughter induced by some of the bizarre choices made. There are more than a few moments of unintended humor such as watching comic Dane Cook attempt to appear credible as an actor opposite the veteran Costner. The disdainful glare of Costner's Mr. Brooks towards Cook's Mr. Smith plays like Costner's silent commentary on his co-star.

Despite the loopy plots and unintentional humor there are a few honest pleasures in Mr. Brooks, not least of which is the chemistry between Kevin Costner and William Hurt. These two veteran actors are so in sync and so on the money that you hate the movie for the constant interruptions of their interplay. Taking time out for Demi Moore's lame backstory and a search for another serial killer aside from Mr. Brooks and the daughter's story and Dane Cook's story all serve to upstage the film's one and only asset, the Costner-Hurt duo.

In the few moments that Costner and Hurt get to play we actually get to dig into Mr. Brooks' character and find out how he ticks and why he does what he does. The potential is there for a very unique take on the classic serial killer picture, a movie from the killer's perspective. Few killers are as uniquely villainous as Mr. Brooks, the upstanding businessman and father who happens to be a serial killer.

What a waste, Mr. Brooks had all sorts of potential and wasted it all on dopey, distracting subplots. Director and co-writer Bruce A. Evans is not a bad director really, just inexperienced with a seeming lack of confidence. Evans lacked the courage to jettison what was clearly not working and focus things where they were working, with Kevin Costner and William Hurt riffing and roaring.

Oh, what might have been.

Movie Review: 28 Days Later

28 Days Later (2003) 

Directed by Danny Boyle

Written by Alex Garland 

Starring Cillian Murphy, Noah Huntley, Naomie Harris, Brendan Gleeson, Christopher Eccleston

Release Date June 27th, 2003 

Published June 27th, 2003

While the masses seek out mindless entertainment in Charlie’s Angels amongst others, real film fans have been anticipating the release of this much buzzed about British horror film that portends the end of the world. Oh yeah and it's got zombies. 28 Days Later, the newest work from Trainspotting auteur Danny Boyle, was actually released some 6 months ago worldwide. Only now reaching the States, it has not lost anything of the buzz and in fact, it's one of the rare films that surpass the buzz to become something even more than expected.

In a scenario that will have Republicans smiling, a group of animal activists break into a research facility and release a group of monkeys who they believe are being abused. Unfortunately, the monkeys happen to be infected with a disease that the doctors call the rage virus. The infection is passed by blood and when the monkey bites a human, it takes little more than 30 seconds before that person becomes a mindless flesh-eating zombie. The zombies can be killed like any normal human being but they are also excessively quick and strong.

Within 28 days, the virus has spread throughout the whole of Britain. Only a few lucky people remain uninfected. One of the uninfected is Jim (Cillian Murphy) who has just awakened from a coma to find the hospital entirely empty. He then finds the neighborhood around the hospital empty, then finally all of London. That is until he stumbles into a church filled with zombies.

Jim escapes with the aid of a pair of survivors, Mark (Noah Huntley) and Selena (Naomie Harris). They give Jim the 411 on what has happened since his coma and then accompany Jim to his parents home where he finds his parents dead. It's not long before the zombies arrive there and Mark is killed by Selena after he is bitten. As she has explained to Jim, if someone is infected you have only seconds to kill them before they turn. She won't hesitate to kill Jim if the same happens to him.

The two then venture out to find new shelter and stumble upon a father and daughter (Brenden Gleeson and Megan Burns) who are hiding out in what remains of their apartment building. Though they have had little to no interaction with the outside world, they have heard what they believe is a recorded message on the radio about some military officers who may have a cure for the virus. Whether that is true or not, the soldiers at least offer protection from the zombies and that is good enough to get them on the road. Once arriving at the military base, they find a ramshackle crew who is no more well prepared than they are.

It's best to stop there because to give away too much would ruin what is a terrifying, brilliant story. The conceit is a frightening one, a virus that could wipe out a large group of people in a short amount of time is a concern right out of our Homeland Security department. In the time of Anthrax and Monkeypox, the story put forth in 28 Days Later is more immediate and frightening. Though the zombie thing gives the film a far-fetched feeling, the reality comes in Boyle's camerawork that has a mind’s eye feeling to it. It's  very unsettling the way Boyle's camera becomes like a dream from your own mind.

28 Days Later is the rare horror film with actual horror in it. There is very little of the camp that marks most modern horror films. There is wit to it, a welcome black humor amidst a sea of jarring horror imagery. Boyle never allows the film to rollover into parody even in it's odd Lord Of the Flies style climax in the military base.

The buzz that accompanied 28 Days Later is well deserved, it's an art house horror film that has real scares and real behind the scenes talent in director Danny Boyle. I wasn't a big fan of Boyle's previous work, but 28 Days Later has me seeking out his other films for re-evaluation of what looks to a great director for years to come.

Movie Review: Yesterday

Yesterday (2019) 

Directed by Danny Boyle 

Written by Richard Curtis 

Starring Himesh Patel, Lily James, Joel Fry, Ed Sheeran, Kate McKinnon 

Release Date June 28th, 2019 

Published June 27th, 2019

Yesterday was a complete delight. Directed by the ingenious Danny Boyle, Academy Award winner for Slumdog Millionaire, and Love, Actually writer-director Richard Curtis, Yesterday is charming, romantic, and quite funny. The acting is wonderful as well with a core duo of newcomer Hamish Patel and Lily James providing romantic and friendly chemistry that leaps off of the screen. All of that, and some of the greatest music of all time and Yesterday becomes irresistible. 

Jack Malik (Patel) has spent 10 years trying to make his music industry dreams come true with no success, but with his trusted friend and manager Ellie (James) always at his side. Despite Ellie’s constant support, Jack finally appears ready to give up his dream and return to teaching when something dramatic happens. On his way home from his last gig, Jack gets in an accident just as all of the electricity on the planet goes out for 12 seconds. 

When Jack wakes up in the hospital the following day, minus his front teeth, he makes a reference to The Beatles that Ellie dismisses in unusual fashion. Later, after Ellie gives Jack a guitar to replace the one he lost in the accident, Jack goes to play “Yesterday” by The Beatles and his friends react as if they have never heard the song before. A confused Jack returns home in a rush and begins googling The Beatles only to find that they no longer exist in any way. 

Apparently being the only person on the planet who remembers The Beatles songs, Jack decides to start performing Beatles songs from memory, not without a serious struggle, as if he had written them. Jack finds success in a fashion not unlike the Fab Four, with a brief struggle and then a massive breakout, all while Jack wrestles with his conscience over the decision to capitalize off of someone else's art and his relationship with Ellie which he has misjudged for the past 20 years. 

Director Danny Boyle is a directorial chameleon, leaping from genre to genre, country to country and masterwork to mediocrity. Yesterday, thankfully, is in the masterwork category. While the movie is minor in social relevance, unlike his Steve Jobs or Slumdog Millionaire, it is masterful as a work of genre. Yesterday is gloriously, ridiculously, heart on its sleeve romantic in ways that modern Hollywood has struggled to be for decades. 

Much of the credit, of course, goes to screenwriter Richard Curtis, who has been at the forefront of the romance genre since the 90’s and the release of his Four Weddings and a Funeral. Curtis is a genius at giving a unique spin to the romantic cliches that are at the heart of the romance genre dating back to the early days of sound in film. What makes Yesterday even more unique is Curtis teaming with a visual master like Danny Boyle who places Curtis’s big romantic ideas into a wonderfully visual, eye-catching package. 

Of course, both Boyle and Curtis are helped by the fact that they have somehow secured the chance to use some of the greatest music of all time to tell their story. It’s famously not easy to get the rights to use the music of The Beatles in a project but the team of Boyle and Curtis were apparently enough to get this movie a break. Of course, I am sure, $10 million dollars in rights fees also helped their case. 

The music in Yesterday isn’t used as you might think. You might assume that Jack deploys the songs in a specific fashion related to his place within the story. Instead, the movie subverts expectations by having Jack simply record Beatles songs in an almost random order, just as he is able to remember them. It’s a clever approach that allows the story to exist outside of The Beatles. Was this done in case the producers could not get the rights to The Beatles and they acted accordingly in building the story? Perhaps, but the approach works nevertheless. 

The supporting cast of Yesterday is exceptionally well chosen. Kate McKinnon of Saturday Night Live fame plays Jack’s new, high powered manager who treats him like dirt even as she is giving him worldwide fame. McKinnon’s oddball dialogue which combines radical honesty with a sociopathic zeal, rarely fails to get a laugh in Yesterday. It’s a brilliant comic performance. McKinnon is backed up by pop star Ed Sheeran who sheds all pop star ego to play himself as a fan of Jack who is willing to compare himself to Salieri to Jack’s Amadeus in one particularly great scene. 

Yesterday, as I said at the start, is a complete delight. It’s a delight for any audience that gives it a chance but it is a special treat for fans of The Beatles. Yesterday is a love letter to The Beatles that balances idolatry and fandom without becoming overly precious. Yes, the film is entirely uncritical of The Beatles but it felt to me like a genuine appreciation and not overly worshipful. The Beatles are only part of this story and not the entirety of it. 

The heart of Yesterday is the romance between Jack and Ellie and the struggle to escape preconceived notions of romance and friendship. There is a warmth and complexity to Jack and Ellie’s relationship that I bought into simply because I loved these two actors so very much. Hamish Patel and Lily James are just wonderful together and I fully believed in their choices, from Jack being blind to Ellie’s feelings to her heartache and his revelation. It’s a simple but well portrayed arc and I think everyone who loves a good love story will appreciate it as much as I did. 

I was a little worried by the trailer for the film that Yesterday would simply be a movie with a clever premise and little more. What a wonderful thing to have all of my worries dashed in the first few scenes and then to grow more and more comfortably immersed in this movie as it unfolded. Yesterday invites you in and if you are open to it, especially if you love this music, and you simply fall in love with it. Yesterday is just so darn charming.

Movie Review: 127 Hours

127 Hours (2010) 

Directed by Danny Boyle 

Written by Danny Boyle and Simon Beaufoy 

Starring James Franco 

Release Date November 5th, 2010 

Published November 4th, 2010

While I have no doubt that The Social Network will be the movie that defines 2010 with its intimate commentary on the dividing time of net life and real life, 127 Hours is, for me, the movie that affected me the deepest. The unbelievably true story of adventurer Aron Ralston's fateful trip into Utah's Blue John Canyon is brought to life by director Danny Boyle and actor James Franco in ways that even Aron Ralston likely never imagined.

Aron Ralston was not one to pause for reflection, or really pause for anything. Always looking for the next adrenalin rush, Aron rushed off on the morning of April 26th 2003 without telling anyone where he was going. His plan was a day long canyoneering adventure that would have him home just after nightfall.

Along the way Aron met a couple of girls, Kristi (Kate Mara) and Megan (Amber Tamblyn) and after a brief, flirty sojourn into an underground lake, Aron is back on track and off again on his own but with plans to possibly see the girls again. That plan would have to wait as not long after leaving them behind, Aron grabs hold of the wrong rock over the wrong canyon and ends up falling with the rock right behind him.

The rock lands on Aron's arm pinning it against the canyon wall and leaving Aron stranded miles from where any other adventurer is likely to go. For the next 4 days Aron Ralston will subsist on a pair of uncooked burritos, a modest amount of water and urine and a strong will to live. During this time he will narrate some of his time on his video camera in between bouts of trying to move the rock.

127 Hours would seem an impossible prospect for a movie. The focus is on one character in one very specific place for a very long time. There are flashbacks and fever dreams but surprisingly few of them. For the most part, director Danny Boyle trains his camera on James Franco and relies on Franco's face and vocal rhythms to carry the day and carry it he does.

127 Hours is a truly remarkable film, a nightmarishly visceral, painfully realistic rendering of Aron Ralston's remarkable written account aptly titled "Between A Rock and A Hard Place." With the aid of cinematographers Oscar Winner Anthony Dod Mantle and Enrique Chediak, director Danny Boyle exploits angles, colors other visual flourishes to give a strange action to a film that is mostly stationary.

And then there are the actual things that happened to Ralston during the time he was trapped. Boyle and Franco take a pair of Ralston's experiences and make them into major set pieces. The first is a frightening flash flood and the second is Aron's video, a moment that begins darkly humorous and turns deeply poignant.

Of course, the major set piece of 127 Hours is Aron finally making the move to cut off his arm between the wrist and the elbow. It begins just after the one hour mark with a single thrust of his dull multi-tool jabbed right to the bone. The visual of the tip of the blade resting against the bone, inside Aron's arm is striking not just in it's surreality but in the sheer force it carries, the way Aron's real pain becomes psychic pain for the audience.

Once the actual cutting begins, the bones broken, the tendons torn, 127 Hours screams with life towards a cathartic, emotional finish that even knowing the outcome cannot diminish. Danny Boyle's direction is so expert and James Franco's performance so winning and Aron's story is so life affirming that nothing can stop 127 Hours from getting under your skin.

127 Hours is the best movie of 2010, a richly emotional masterpiece. When I talk about why I love movies I will talk about the final moments of 127 Hours and the deep, convulsive gulps as I tried and failed to hold back tears of joy and the lurch of honest to goodness, physical exhaustion that is accompanied by A.R Rahman’s joyous, pulsing score. What a marvelous film.