Category Archives: Danny Boyle

2010 Films, Amber Tamblyn, Biography, Danny Boyle, Drama, James Franco, Kate Mara, Treat Williams

127 Hours-2010

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127 Hours-2010

Director Danny Boyle

Starring James Franco, Kate Mara

Scott’s Review #967

Reviewed December 13, 2019

Grade: A

A biography of epic proportions, 127 Hours (2010) provides a stunning account of one man’s journey and near-tragic fate. If not for his resolve and determination this would surely have been the result.

Director, Danny Boyle casts the charismatic James Franco in the role of the hiker who was forced to amputate his arm after becoming pinned by a rock. The effective title gives a non-stop active feel, a five-day in-life production if you will, and a pulsating ninety minutes of crafty filmmaking.

The film starts a cheery story of an excited mountaineer, Aron Ralston, (Franco) who prepares to embark on a long-awaited adventure.

The time is April 2003.

His goal is to enjoy a few days of hiking, reveling in the freedom the fresh Utah air offers him. Somewhat of a daredevil, he happily anticipates adventure as he begins his journey.

He meets two attractive young women, Kristi (Kate Mara) and Megan (Amber Tamblyn) and the trio swims in an underground pool before going their separate ways.

Had 127 Hours been a horror film there would be a sense of suspicion or dread surrounding the female hikers, but the scene is enchanting and pure innocence.

Once again on his own, Aron suddenly slips and falls, knocking over a boulder that crushes his right hand and wrist against the wall. He calls for help but realizes that he is alone. Aron begins recording a video diary and reflects on his past, for example forgetting to leave a note of his whereabouts while becoming more and more desperate to escape.

Most of 127 Hours is set within a state of claustrophobic peril in the tiny walls of the rocks that Ralston is trapped between. The film quickly becomes an emotional and personal experience as the camera is focused on Franco, mostly in the close-up form.

At times the shots are too close for comfort, but this is a necessary way for the viewer to experience events the way that Aron did, the style is tremendously effective.

At the risk of diminishing the amazing direction, editing, and cinematography offered, the film belongs to Franco.

As Aron faces peril, growing frantic with each passing hour, but trying to remain calm and focused, Franco does a tremendous job of balancing and revealing the proper emotions. He whimsically recounts memories while forbidding himself to lose sight of escape, rationing what little food and water he has.

The gruesome amputation scene is gory and powerful and may necessitate closing one’s eyes.

The remainder of the elements come together perfectly. The editing, cinematography, and pacing of the story are all spot-on. The musical soundtrack is key to the pacing of the film. At first energetic and excitable, the music slowly becomes darker and more subdued, while at the end it is low-key.

Aron is thankful to simply be alive as he walks a lonely walk to help as the film concludes.

Since the real-life figure is still very much alive, the historical accuracy of the experience is preserved, as confirmed by the hero. He only showed Kristi and Megan basic climbing moves and they never swam together, but the remainder is a brilliant documentary-style film experience.

The real Ralston himself, along with his wife and son make cameo appearances at the end of the film, providing good authenticity.

127 Hours (2010) scores big, creating an experience that is breathtaking, disturbing, and real. Inspiration will be given to each viewer and a lesson in endurance and perseverance will resonate in their own life.

The film deservedly received Oscar nominations for Best Picture, Best Actor, Best Adapted Screenplay, Best Original Score, Best Original Song, and Best Film Editing, but sadly coming up empty-handed.

Oscar Nominations: Best Picture, Best Actor-James Franco, Best Adapted Screenplay, Best Original Score, Best Original Song-“If I Rise”, Best Film Editing

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-Danny Boyle, Best Male Lead-James Franco (won)

2019 Films, Comedy, Danny Boyle, Musical, Richard Curtis

Yesterday-2019

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Yesterday-2019

Director-Danny Boyle

Starring-Himesh Patel, Lilly James

Scott’s Review #952

Reviewed October 29, 2019

Grade: B-

Yesterday (2019) is a film that is silly but sentimental, oozing with a nice quality that becomes tiresome towards the conclusion. For those seeking a safe experience, the film will be deemed as wonderful, but for those with an appetite for a left of center grit, the film will only marginally entertain. It’s safe.

Director, Danny Boyle (2008’s Slumdog Millionaire) again chooses a charismatic British-Indian actor, Himesh Patel, in the starring role, in a film any fan of the rock band The Beatles should see.

Jack Malick (Patel) is a struggling musician who resides in Lowestoft, England, a suburb of London. Unsuccessful, he is nonetheless encouraged by his manager and childhood friend, Ellie (Lilly James), to reach for the stars and never give up his dreams of achieving success.

One day he is hit by a bus during a global blackout and is hospitalized with a head injury and missing teeth. When he performs the Beatles song “Yesterday” for his friends they are blown away by its genius. Jack realizes that the entire world has never heard of the legendary band and capitalizes on the stroke of luck, becoming a rock n roll superstar.

The massive song catalog of the Beatles featured in Yesterday is the best part of the film. The pleasure is in wondering which songs will appear next and in what context. Jack awkwardly “debuts” the song “Let it Be” to his parents, who continuously botch the name of the song, only showing mild interest.

Next, Jack furiously attempts to remember the lyrics to “Eleanor Rigby”, a difficult song lyrically. Other gorgeous classics featured are “The Long and Winding Road”, “Here Comes the Sun”, and “Something”.

A sentimental nod and appearance of a John Lennon figure is a nice touch and a worthy dedication to the deceased legend. The key here is wondering what would have become of the assassinated star had he not been famous.

The film approaches this when revealing that Lennon would today be an old man- Lennon tells Jack in a sentimental scene that he has lived happily with his wife by his side. If only this had been the case.

Patel is charming and a character to root for. As the butt of jokes made by his friends, who truly adore him, he is neither the handsome lead nor the wimpy co-star, more of a hybrid of the two.

We want him to achieve musical success because he is a nice guy but is glad when he finally fesses to the phony plot, as predictable as that point is to the film. Patel’s best scenes occur on-stage when he either rocks out to the guitar or adorns us with a piano ballad.

Other than the above notes, Yesterday is only mildly entertaining mixing a musical with a romantic story that does not work. If the audience is expected to root for Jack and Ellie to get together then the idea falls flat.

The pair have no chemistry nor is Ellie even remotely written as being the type who will live the rock n roll lifestyle or want to. She is an elementary school teacher and asks Jack to give up his dream and lead a simple life in the suburbs. Who would do that?

Yesterday is riddled with stock characters, some of whom may or may not exist in real life. As much as I love actress/comedian Kate McKinnon, her overbearing character of Debra Hammer doesn’t showcase her best work.

Driven and cold, the character is played for laughs with her over-the-top behavior, but it feels too much like a part written to showcase McKinnon. Jack’s parents are cliche-filled characters doting around with confused expressions and seeming to be overwhelmed by all events.

A musical film that cringes with a safe and saccharin feel saved only slightly by the bevy of mostly 1960’s hits by the Beatles, some of which lyrically is dissected and showcased.

Yesterday (2019) includes pop star Ed Sheeran, who cannot act, and does anything for the film. Way too polished and superfluous for its good, Boyle, a worthy director, should have added some edginess rather than going for safe pop.

Thank goodness the film is about the Beatles rather than the Backstreet Boys.

2008 Films, Best Picture Oscar Winners, British, Danny Boyle, Dev Patel, Drama, Freida Pinto, Independent, Independent Drama, Irrfan Khan

Slumdog Millionaire-2008

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Slumdog Millionaire-2008

Director Danny Boyle

Starring Dev Patel, Freida Pinto

Scott’s Review #786

Reviewed July 11, 2018

Grade: A-

Winner of the 2008 Best Picture Oscar (as well as seven other Academy Awards), Slumdog Millionaire (2008) arguably was the “feel good” film of the year.

While I am not sure if all of those awards are ultimately deserved, the film is nonetheless very good, offering a mixture of good culture, a young man overcoming enormous odds, and a love story.

Fans of the universal game show hit, Who Wants to Be a Millionaire, will be pleased.

Young Dev Patel (critically acclaimed for 2016’s Lion) stars as a poor young Indian man, Jamal Malik. He is detained after being a contestant on Who Wants to Be a Millionaire after he comes one question away from winning a million dollars.

The producers go on a commercial break and Jamal is whisked away to custody as suspicions are aroused and the young man is accused of cheating. Since he is a “slumdog” and poorly educated, it is assumed there is no way possible he could know all the answers.

Jamal recounts, via flashbacks, through experience, how he came to know all of the correct answers.

Director, Danny Boyle does a fantastic job directing the film. Slumdog Millionaire is edited in a fast-paced fashion and the camera angles are quick and stylized, making for an excellent flow.

The soundtrack to the film is very effective and enhances the plot. For example, the music is extremely diverse and features genres such as traditional Indian classical music, European house music, and American-style hip hop.

This is an ingenious way for Boyle to incorporate multiple cultures and he, therefore, creates a rousing crowd-pleasing experience.

Another successful aspect of the film is its use of knowledge and intelligence to tell a story. As we experience Jamal’s difficult life beginning as a five-year-old orphan, the unlikely success story and his adventures on the streets are engulfed in both life lessons and education.

The audience is learning important details about the world while Jamal simultaneously is.

The romantic, love-story featured in Slumdog Millionaire is also a highlight and extremely well-crafted. Heartbreakingly, Jamal, his older brother Salim, and the lovely Latika (later played by the gorgeous Freida Pinto) are on the run when Latika vanishes.

Her disappearance and later reappearance are vital aspects to the heart of the film and Patel and Pinto make a handsome and highly likable couple. Their reconciliation is heartfelt and beautiful and gives the film a nice emotional investment.

The incorporation of a relevant and acclaimed game show into the story is wonderful, though hopefully as the years go by, the film does not suffer from a dated feel if and when Who Wants to Be a Millionaire is long forgotten, but alas this is a risk and only time will tell.

The glossy set and for American audiences, the Indian-style version of the game show is great fun as are the Indian locales, which visually dazzle.

A slight detraction of Slumdog Millionaire is the film is unquestionably uplifting and light feeling. Even though the characters face peril and dangerous experiences, the film just “feels” safe.

So much so that qualities such as slick and mainstream resound.

Don’t get me wrong, the film is genuine and has heart and soul, but just slightly too cheery. Of course, since the film is made well and the story and the acting great, this can easily be overlooked.

Slumdog Millionaire (2008) is a wonderful piece of work and is quite simply a film that lots of people will champion.  All of the elements are perfectly in place, which is a main selling point and a prime reason for the film’s many accolades.

The romance and adventure pieces are the best parts- with a quick flow and lots of fun, educational tools utilized.

The film is a nice pleasure to experience.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Danny Boyle (won), Best Adapted Screenplay (won), Best Original Score (won), Best Original Song-“Jai Ho”, “O Saya”, Best Sound Editing, Best Sound Mixing (won), Best Cinematography (won), Best Film Editing (won)

2017 Films, Andrea Riseborough, Biography, Danny Boyle, Drama, Emma Stone, Sports, Steve Carell

Battle of the Sexes-2017

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Battle of the Sexes-2017

Director-Jonathan Dayton, Valerie Faris

Starring-Emma Stone, Steve Carell

Scott’s Review #691

Reviewed October 11, 2017

Grade: A

Battle of the Sexes is a film that achieves worth on many levels- equal parts sports film, drama, and biography, the film excels across all genres, with exceptional acting and crowd-pleasing storytelling.

To boot, the film is a true story based not only on the very famous pro tennis match of 1973, termed the “Battle of the Sexes”, but a story of the sexual identity conflict of one of the opponents, in a time where being ones true self was not easy, especially for a public figure.

Emma Stone might very well have given her best portrayal of her young career as Billie Jean King, the talented tennis pro featured in the film. She is kind and fair, but a fierce proponent of women’s rights in a time in the United States when feminism was beginning to first take shape and women, and their male supporters, demanded equal treatment.

At first uncertain whether Stone could pull the role off (not because of lack of talent, but the women seem so different), she truly shines as the tomboy athlete with shaggy, feathered locks, and a toothy grin.

Equally worthy of praise is Steve Carell, who bolsters his film credo by tackling the role of King’s opponent and foe in the big match, Bobby Riggs.

Portrayed as a certifiable “jerk” and a sexist pig, Carell somehow pours the perfect amount of sympathy and likability into the part. We witness scenes of Riggs’ playfulness with his young son and tender yet troubled relationship with his wife, Priscilla (Elisabeth Shue in a well-cast role), that never seems neither trite nor contrived, but rather quite genuine.

The acting in Battle of the Sexes is across the board good.

Sarah Silverman drips with confidence and humor as Gladys Heldman, founder of World Tennis magazine and leader of the troupe of female tennis players parades around southern California seeking the same respect and pays as their male counterparts.

Bill Pullman, makes the most of his one-dimensional role of Jack Kramer, a wealthy and male chauvinistic promoter, while the talented Andrea Riseborough is brilliant as Marilyn, the bisexual, closeted lover of Billie Jean- giving a blend of vulnerability and toughness to her role.

The romantic scenes between Stone and Riseborough smolder with tenderness and heart as they forge ahead with their forbidden romance.

The film makes clear that a same-sex romance in those days, while accepted by those around them, would be met with shame and rejection by a large part of King’s legions of fans- this is a heartbreaking reality.

One of the most tear-jerking scenes comes at the end of the film when a victorious King is unable to acknowledge Marilyn- her openly gay male dresser earnestly whispers to her that one day she will be free to love who she truly loves- the scene is poignant.

Directors Dayton and Faris carve a finale that is careful not to fall into the cliched territory. Given that Battle of the Sexes is a sports film, this is a real risk, as typically these genre films teeter into the “good guys beat bad guys” fairy tale land.

Rather, while the film does champion King in the end, the moment is laced with good humor, drama, and sentimentality that does not seem forced, but rather honest and real- I enjoyed the final act immensely.

As the film progressed I found myself drawing parallels to the ever-dramatic and historical 2016 Presidential election- sure to have films made in years ahead-and King in many ways mirrors Hillary Clinton while Riggs resembles Donald Trump in the sexist department. The political and sports “Battles of the Sexes” warrants an amount of analysis.

My point is a sad one and as much as I love the film, I was left with a cold feeling that forty-five years after the famous Billie Jean King versus Bobby Riggs match, male superiority and chauvinism is alive and well in the United States- we still have so much progress to make.

Battle of the Sexes is a film with fantastic acting, stellar casting, passion, excitement, and a telling of a historical, true story.

In short, the film contains all of the elements of a compelling cinematic experience.

2007 Films, Alex Garland, Danny Boyle, Harold Perrineau, Horror, Horror Zombie, Idris Elba, Jeremy Renner, Rose Byrne

28 Weeks Later-2007

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28 Weeks Later-2007

Director Juan Carlos Fresnadillo

Starring Rose Byrne, Jeremy Renner

Scott’s Review #513

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Reviewed November 6, 2016

Grade: B-

At the time of its release, I remember 28 Weeks Later (2007) to be a successful follow-up to the original 28 Days Later (2002), a clever play on the title and picking up events some seven months after the original.

Watching the film now, however, I see flaws, mostly in the lack of a character-driven story and the resulting traditional action-type film.

Still, the film is far from all bad.

The action begins as the audience meets a “family”, barricaded in a homey residence, attempting to resume normalcy in life by preparing and serving a delicious family dinner- almost reminiscent of Thanksgiving.

The scene is tranquil and rich in familiarity.

When a little boy pounds on the door to be let in, the terror begins and the Rage virus is proven to still be alive and well.

The story was written for 28 Weeks Later has nothing to do with the original and contains none of the original characters. Rather, a father, mother, and young boy and girl are the family that we follow throughout the film.

Rose Byrne stars as a doctor- laughingly named Scarlet- and Jeremy Renner as a U.S. military presence, NATO having been sent in to keep order as best they can.

The opening sequence is fantastic as peacefulness turns deadly rather quickly and the characters are in immediate peril. In another scene, when the father and mother are alone in a laboratory and events go awry, the sequence is gory, shocking, and quite heartfelt.

These are merely moments, however, and are not quite enough to carry the film into a successful sequel.

Another positive to note, even more, prevalent than in the original, are the wonderful location shots of London. From the London Eye to Big Ben to street shots of downtown London and the surrounding streets, are capably done and I loved seeing the ariel views of said city.

The conclusion at Wembley Stadium was also great. This was a treat for any fan of London and gave the film a clear sense of location.

Conversely, I was not a fan of the characters in 28 Weeks Later.

Whereas, in 28 Days Later, the characters were well-drawn and compelling, rich with beauty and emotion, the same cannot be said for the sequel. I am unclear what the purpose of Renner’s tough, no-nonsense military type was for, or Byrne’s sympathetic, but pointless turn as a scientist/doctor.

Both held little appeal and gave snore-worthy performances. Or perhaps the roles were just not written well. Regardless, neither worked.

The dynamic between the father and mother did work, but the kids were not the best actors and I found their additions pointless as well.

The last scene, a frenetic trip through a tunnel by the infected and arriving in gorgeous Paris- a shot of the Eifel tower as proof, is a nice touch.

With a few nice touches, cool location shots, and intense peril in a few sequences, but with limited compelling characters, 28 Weeks Later (2007) is okay, but hardly an upgrade to the original or even close to the character-driven film.

No follow-up film, while initially planned, was ever completed.

2002 Films, Alex Garland, Brendan Gleeson, British, British Horror, Cillian Murphy, Danny Boyle, Horror, Horror Zombie, Naomie Harris

28 Days Later-2002

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28 Days Later-2002

Director Danny Boyle

Starring Cillian Murphy, Noah Huntley

Scott’s Review #507

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Reviewed November 2, 2016

Grade: B+

Before the influx of zombie-related horror films and television shows filled the land- arguably offset by the success of The Walking Dead series, a little film came along- now almost teetering on its influence being forgotten- that presented this genre with fresh insight and creative storytelling posing questions amid the mayhem.

28 Days Later (2002) rejuvenated this largely dormant film category with a gritty story of peril among a group of survivors spared from a deadly virus.

The film is smart as it explores morality issues and the needs of society to continue.

We initially are immersed in confusion as chaos immediately ensues. After a brief prologue of a group of laboratory chimpanzees gone mad, inflicted with rage, being let loose by animal liberators, and killing all present as well as inflicting the humans, we meet a lone man named Joe- the timing is relevant as it is “28 days later” from the incident.

The young man awakens in a hospital to find himself alone amid downtown London- not a soul in sight.  Fortunately, he has been in a coma and missed the crumbling of society due to an outbreak- somehow Joe has been spared.

Gradually, Joe meets others uninfected by the virus and they forge through the country in search of a military base rumored to be a haven.

The infected humans are not zombies, but rather, violent creatures who destroy anyone in their path. The film not only presents the grotesque creatures but also challenges the audience to think in a political sense- how will the survivors forge a new society?

How will women be treated differently from and by their male counterparts in a world that now lacks any police force or government?

My initial reaction to watching 28 Days Later- years after its initial release- is that it now seems slightly dated, but that has more to do with the legions of copycat films that have come after it and have been exposed to.

We have become more encompassed by this type of film, both in genre and in style. Appreciation is warranted for its gritty, fast-paced camera-work, extreme violence, and the use of “infected” who turn from human beings to vicious beings.

A fantastic part of this film is that it is not simply a horror film, it is more layered than that. There are moments of great beauty and tender moments among Joe and Selena- the sole surviving female other than the young, waif-like, Hannah, whose world has been shattered by the death of her loved ones.

In one sad scene, a couple has peacefully committed suicide, rather than face what would surely become of them.

There is a sense of a human story in 28 Days Later, which made me find the film heartfelt and almost sweet. Even the military soldiers- their motivations questionable- are relatable based on the world being turned upside down. A layered, complex, zombie film with some character-driven elements.

2015 Films, Aaron Sorkin, Biography, Danny Boyle, Drama, Jeff Daniels, Kate Winslet, Katherine Waterston, Michael Fassbender, Michael Stuhlbarg, Sarah Snook, Seth Rogen

Steve Jobs-2015

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Steve Jobs-2015

Director Danny Boyle

Starring Michael Fassbender, Kate Winslet

Scott’s Review #288

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Reviewed November 25, 2015

Grade: B+

Steve Jobs is a name that almost everyone has heard of. Most associate him with Apple products or at least know that he is some technological genius who has influenced the modern world in some fashion.

His name is a household one.

The film Steve Jobs (2015) presents a slice of his life, mostly focusing on his professional leap to success, his damaged personal life, and his inability to stay close to people within his circle.

Michael Fassbender plays the title role. He looks nothing like Steve Jobs, but this did not bother me.

It is quickly revealed that Steve Jobs is a competitive, cut-throat, and sometimes unkind man. He is driven, ambitious, and willing to do what it takes to succeed in business. He is also complex and as the film rolls along we witness the complexities of this man, arguably deemed a “genius”.

But where he has flaws is in his personal life as the film makes abundantly clear.

Kate Winslet is excellent in the supporting role she plays. Joanna Hoffman, Jobs’s loyal marketing executive, stays in his corner through the years, enduring ups and downs, yet their relationship never goes beyond the platonic. They are colleagues and both are absorbed in their creations.

Her character is a bit under-explored as we never are exposed to much of her personal life. Winslet in a rare “dowdy” role, makes the most of Joanna as she is the type of woman who throws herself into her work at the expense of her private life.

The film is primarily set during the three important software launches and, predictably, all are filled with issues and stress.

The bulk of the first act occurs in 1984 when Jobs and Hoffman struggle and fret during an Apple Macintosh launch in front of an auditorium filled with industry types eager to see the new technology.

The scene is tense as the new computer will not say “hello” as advertised and Jobs demands lead engineer, Andy Hertzfeld, fix it.  The scene escalates in its intensity.

We immediately bear witness to the fact that Steve Jobs is a shark. He is demanding and unlikable and the film is not afraid to stress that fact as the action continues.

We are next introduced to Jobs’s personal life. A beautiful young woman arrives at his office with a young girl. They are both on the brink of being destitute and thrown out of their home, yet Jobs refuses to help them and coldly calculates the probability that the young girl (Lisa) is biologically not his.

As the film chugs along Steve Jobs has a turbulent relationship with Lisa as the film spans the period from 1984-1998.

The film is a character study of sorts and we learn the complexities of Jobs. Fassbender gives a nuanced performance allowing the audience to absorb these character traits and ultimately feel emotional sympathy for him.

I admire this character study of Steve Jobs and feel that I know him quite a bit more, on a human level, than I once did.

Perhaps the supporting characters might have been fleshed out a bit more, but in large part, Michael Fassbender’s portrayal of a real-life person makes this film successful.

Oscar Nominations: Best Actor-Michael Fassbender, Best Supporting Actress-Kate Winslet