50/50

Cynics of this blog may say that I'm going to be particularly biased in my review of 50/50 because of my ongoing infatuation with Joseph Gordon-Levitt. And those people would be absolutely correct. But cute leads aside, this film is actually quite different in what it tries to do; aiming to show the funny side of a cancer story through comedy. Now that's quite a provocative statement, especially as 50/50 is certainly a long way from being just candy and belly-laughs, but at the centre is a really delicately written story (which comes as no surprise to be based on real life) that mixes in just enough light-hearted humour to counteract the darkness and depression of the diagnosis.

Without wanting to read much like the back of a DVD case, 50/50’s main theme isn’t really the effects of cancer, or the journey that comes with a treatment as devastating as chemotherapy. Centrally, the story is all about relationships; the (at times dysfunctional) friendship between JGL’s Adam and Seth Rogen’s Kyle (essentially playing a fictionalised version of himself), the failing liaison with girlfriend Rachael, and the broken bonds with his parents (especially his mother). Each one is dealt with delicately, not least by an excellent cast, but certainly helped by an incredibly well written story that can only really have been created by the person at the centre, and presumably helped by Seth Rogen who experienced it all first hand.

Genuinely shaving your head while improvising the scene? Meet the very riskiest of one-take wonders...

Overall, 50/50 strikes a really harmonious balance between comedy and drama, becoming a beautiful hybrid of the genres. In places, it’s difficult to do anything but get engulfed by the overwhelming sense of loneliness that ultimately just makes you want to reach into the screen and give him a hug. But contrasting them, the comic flair (mainly with the highly capable Seth Rogen at the helm) provides plenty of charming chuckle-inducing relief, and numerous moments that even the gloomiest of audience members will struggle not to crack a smile at.

(500) Days of Summer

For me, the charm of '(500) Days of Summer' is really simple; it's so unlike anything else. Right from the outset, the film makes it clear that what you're witnessing is not a typical love story, and that's a promise it delivers on in spades. Though in essence it follows exactly the same clichéd pattern for the Hollywood rom-com norm, there is plenty else going on to keep the film's indie feel alive (aside from the fact that it is one, of course).

Not your typical love story... Personally, I don't know what her problem is. I totally would.

Needlesstosay, any film that allows us just over an hour and a half of looking at Joseph Gordon-Levitt is going to be tricky to mark down, but fortunately, there's not much to be disappointed by. Even the time jumps (always a tricky concept to get right without either becoming overly confusing or stupendously annoying) are easy to follow, and actually serve to develop the story and the characters, rather than becoming a directorial add-on.

That said, it's not just the storyline that keeps the film's quirky feel. The visual style, including pencil drawing animations, and simultaneous side-by-side versions of the same scene add real character and charm to the film, and just serve to separate it further from it's (sometimes) stale Hollywood cousins.

Overall then, (500) Days is a really touching little movie, overtly choosing to take a fresh look at a staple movie genre, and rebel against it from the outset. The result received a standing ovation at the Sundance Film Festival in 2009 (so Wikipedia tells me), and truth be told, it's not difficult to see why.

127 Hours

At face value, '127 Hours' seems like the most unlikely piece of entertainment for me to enjoy. Anything that has the caveat "contains scenes of graphic injury" is certainly not going to make it to the top of my LoveFilm list very quickly, and indeed, I'm not too proud to admit that several minutes towards the end are entirely lost to me. But although the self mutilation crescendo is the inevitable conclusion the film builds towards from the very beginning, the story that unfolds in the meantime provides much more depth than I'd initially given it credit for, with moments of genuine tenderness, and even wit in places.

The movie seems to start as an incredibly successful tourist board advert for Utah. To be fair, the location very much lends itself to breathtaking vistas and panoramic sunsets, so it would have seemed slightly odd if Danny Boyle hadn't succumbed to the beauty of the landscape and popped a few in. Based on a true, and rather harrowing story, '127 Hours' is a worryingly factual account of a canyoneer who's arm is trapped by a boulder whilst exploring the Utah wilderness, and his ordeal as he succumbs to the isolation and futility of his predicament, before finally resorting to desperate measures to free himself.

One of the first things that becomes apparent about the film, is the slightly unusual use of camera angles and screen splitting. Given it's a Danny Boyle special, that unconventionality probably shouldn't come as such a surprise, but it does bring with it the use of visual flashes of subconscious which do take some getting used to early on. That said, by the end, the visions are used to gloriously powerful effect, and actually take quite a central role in telling the story, and communicating Aron's (James Franco) state of mind.

Too serious to make a joke about, Aron (James Franco) assesses his options

On the subject of the protagonist, '127 Hours' provides a pretty masterful showcase for James Franco, who is given occasion to work through the entire actors manual; happy, scared, paranoid, angry, confused, pained (and there's a lot of that) - you name it; this film shows he can do it, and can do it well. He delivers an incredibly powerful performance throughout, which really carries the weight of the film.

For me, though Franco's performance is stellar, I never really found myself enjoying the film. It's an amazing story, and one that truly needed to be told, but not once did I feel comfortable watching it. I know that's sort of the point, and don't get me wrong, I'm so glad I have now seen it, but any film that is already making me squirm at 20 minutes in is going to be hard to enjoy. For me, this is the kind of film that absolutely everyone needs to see once (firstly for the story, secondly for the acting), and it certainly deserves more stars than I've given it, but it's just not something I will be going back to. That said, I do have one final piece of advice for anyone else out there like me; please, please, please do NOT watch this film if you suffer from sympathy pain.