Very very predictable, including the post credit scene !!!

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

A look at tightrope walker Philippe Petit's daring, but illegal, high-wire routine performed between New York City's World Trade Center's twin towers in 1974, what some consider, "the artistic crime of the century". The actual real life storyline is truly something special and just amazing but unfortunately this documentary showcases that with such boredom and slow pacing that makes the actual real life events look hollow thanks to this. To be honest i would advice you to check out the Joseph Gordon-Levitt film which was much better. (0/10)

The filmmakers have done the near-impossible. They made a boring movie about an astounding feat. The entire film is a paint-by-numbers attempt to contrive conflict from barely perceptible interpersonal differences on a humdrum team, and to contrive tension from a cut and dried procedure. In the end, with all the life drained out of this antiseptic mishmash, the feat itself becomes anti climactic. Or perhaps non-climactic.

James Marsh's Man On Wire is a marvelous cinematographic moment. Philippe Petit's very first vertiginous step on a steel cable anchored at a height of 1,368 ft (417 m)) transcends the laws of man's commonly acknowledged senses and defies how every one of us experiences existence. It's all about human immensity - It reminds me the first powered flight of the Wright brothers in 1903, but first and foremost it calls to mind Lumière brothers' first public screening of their short films in 1895, hand cranked through a projector. It's the extraordinary talent, the creative touch of filmmaker James Marsh in the making of Man On Wire that breathes new life into Petit's sublime walk in the sky. Despite having recourse to still pictures - a step becomes a walk, a walk becomes a dance, a dance becomes life of on a tightrope. Fine-grained clays, of which this motion-picture is made of, are the restored archival color footage and newsreel material, the captivating black and white photographs, the bright and sighted scenes reenactment, the lively present-day interviews and the perceptive use of music. - "It was a misty day, there was a little bit of air that morning." - "I had to make a decision... of shifting my weight from one foot anchored to the building to the foot anchored on the wire." - "Look a wire-walker! He's walking!" - "Something that I could not resist... called me upon that cable." - "It was so... so beautiful". Once more - It is James Marsh's commitment and profound emotional engagement to moviemaking that makes it possible. It is James Marsh's skill that arranges the polyphonic montage of visuals and voices, and directs their interactions. 7th August 1974, Twin Towers, New York City. Philippe Petit was 24 when he completed Le Coup. Philippe Petit is still with us today - "There is no why."

I tried really hard to get behind this guy and his performance, but I just don't understand why someone would spend so much time and energy on something so pointless. Who did this help? What was he trying to say? Was this anything other than a massive "Look at me!" ego trip? People seem fascinated by this story and I just plain don't get it. There's a dramatization out soon and I don't get that one either. People say "It doesn't have to make sense" or "He did it because he could" or "It's art don't question it." I disagree. I feel that "art" without purpose is ego-stroking nonsense. Petit seemed like a jerk with nothing on his mind but getting people to look at him. I don't feel like supporting his insecurity.