Reception
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |    [10] |
| ChartAttack | [11] |
| Empire | [12] |
| Film Music Magazine | (A)[13] |
| Filmtracks | [14] |
| Gordon and the Whale | [15] |
| Los Angeles Times | [16] |
| Movie Music UK | [17] |
| Movie Wave | [18] |
| Music Aloud | (8.75/10)[19] |
| Scorenotes | (7/10)[20] |
The soundtrack received generally favorable critical reviews. Philip French of The Observer commented that "The music is subtly varied; the soundtrack makes admirable use of silence and natural sound."[21]
Sarah Kurchak of ChartAttack reviewed the music saying "There's something about the way Danny Boyle uses popular music in his films that's really exciting for anyone who genuinely cares about the medium. Plenty of directors are good with a score, and he's no slouch in that department, but the use of songs is a different beast. In both score and songs, Boyle seems to have an inherent ability to understand the moods and emotions music can inspire in people and uses it to augment his storytelling."[11]
The soundtrack was rated five out of five in the review by Danny Graydon of Empire magazine. His review reads: "Following their Oscar-winning collaboration on Slumdog Millionaire, A. R. Rahman provides Danny Boyle’s tale of a mountaineer in dire straits with an affecting core of slow-burn, reflective cues that ultimately penetrate in a big way, supported by a typically eclectic array of exterior tracks from the likes of Free Blood, Bill Withers and, most effectively, Sigur Rós. Rahman’s nine cues are anchored on acoustic guitar and generate a suitably meditative tone, augmented by ethnic pipes (Acid Darbari) and ethereal vocals (R. I. P.). Rahman’s collaboration with singer Dido, If I Rise, closes proceedings with a cathartic and quietly optimistic tone which almost prompts a tear."[12]
Margaret Wappler, in the review published in Los Angeles Times, said that "In his last movie, Slumdog Millionaire, director Danny Boyle showed a sophisticated sense of how music and image can intertwine and intensify each other. With his latest, 127 Hours, he proves his skill again, reenlisting composer A.R. Rahman, who won two Academy Awards for his racing, kinetic score to Boyle’s violent fairy tale set in Mumbai, India."[16]
Daniel Schweiger of Film Music Magazine said that "Danny Boyle and A.R. Rahman are going for a far more interior moment of transcendence, one that tells us the often-awful fight for life is more than worth it- especially in this haunting fever dream that take a filmmaker and musician to new heights while pondering their way out of a man’s darkest hours."[13]
The review published by Christian Clemmensen at Filmtracks commented that "Whether or not you can stomach this film or its equally challenging album, the music serves as even more evidence that the diversity of Rahman's talents can compete favorably in an otherwise arguably stale film scoring environment in the United States."[14]
Jonathan Broxton of Movie Music UK gave a favorable review and called the score an "unconventional one". He also praised Rahman for his ability to score in multiple genres.[17]
Director Shekhar Kapur, after a special screening of the movie, commented through Twitter that "Rahman's score adds depth to Danny Boyle's deft and energetic direction in 127 hours. Rahman certainly deserves another Oscar for 127 hours, Danny Boyle and Rahman are proving to be a great combination."[22]
Aron Ralston, on whom the movie is based on, praised Rahman for the music and posted a hand-written note on Facebook and Twitter, which reads:
"For A.R, Thank you for bringing your amazing music to my story - if only I had your soundtrack in the canyon, I could've lasted another 127 hours. Best Wishes, A.R. (Aron Ralston)."[23]