3:10 to Yuma: Movie Review (2007)
(Originally published 2007)
Directed by James Mangold, written by Halsted Welles, Michael Brandt and Derek Haas, 117 minutes, rated R.
The new James Mangold movie, "3:10 to Yuma," follows Kevin Costner's "Open Range" and Clint Eastwood's "Unforgiven" in that it comes to the genre having learned plenty from all that came before it. In Mangold's case, that also meant studying the 1957 original on which his film is based, which happens to be a plus since the movie is a classic.
This beautifully acted, expertly staged film is infused with the sense that there still is more to be discovered in the Old West.
Given the enthusiasm with which he directs, it's clear that Mangold (“Walk the Line”) came to the material charged with the sense that he could manipulate familiar stock Western conventions and make them appear fresh again so long as he had the story, the characters and the cast to back up his bravado.
That he does is an understatement. "3:10 to Yuma" is one of the more exciting, engrossing movies to come along in awhile.
Based on Elmore Leonard's short story, itself inspired by the 1952 movie "High Noon," the film’s plot is as lean and as simple as you’d expect from Leonard, but none of that simplicity translates to the characters, who are complex and human in ways that make for a satisfying, emotionally rich narrative.
Christian Bale is Dan Evans, a down-on-his-luck rancher with a bum leg and a bum life who is trying to keep it together in Bisbee, Ariz., in the late 1800s. Thanks to a drought, his cattle are dying off, which is fueling an already tense situation at home.
Though his youngest boy adores him, his eldest son, Will (Logan Lerman), and Dan's wife, Alice (Gretchen Mol), have lost faith in him--Will looks at him in disgust, Alice with pity, neither of which exactly makes Dan feel like the man he longs to be.
When into his life comes Russell Crowe's Ben Wade, an infamous outlaw with a string of robberies and murders behind him, Dan is faced with an opportunity to regain the respect he has lost when Wade is captured. A railroad official (Dallas Roberts) offers him $200 to help bring Wade to justice.
Given the viciousness of Wade's posse, which is led by the chilling Charlie Prince (Ben Foster in an Academy Award-worthy supporting performance), it's a risky proposition, but Dan’s desperation to turn his life around is so great, he nevertheless accepts it. Against his wife's wishes, he joins the railroad official and his men (including Peter Fonda and Alan Tudyk) on a 2-day trip to Contention City, where Wade will be placed on the 3:10 train to Yuma and meet his maker when he arrives there at the prison.
What ensues is just as action-packed and as disastrous as you'd expect--Wade's men want their leader back and they're skilled enough to do it--but what you might not expect is the odd bond that grows between Dan and Ben. With Dan choosing a life of good and Ben a life of evil, each becomes fascinated by the other, which allows Mangold to mine unexpected depths from a movie that, in the wrong hands, could have relied solely on action and thus wouldn’t have allowed for the terrific performances Mangold pulls from Crowe and Bale.
In the end, if "3:10 to Yuma" doesn't find itself on the short list of Academy Award contenders, this film itself has been robbed.
Grade: A
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October 30, 2007 at 7:30 PM
I like this movie, but it ain't close to Academy quality. 1) A guy who is so dangerous isn't even tied up propertly. He has no trouble killing a deputy in the middle of the night, or just plain walking away. Defies logic; 2) the poor guy who burned to death in the stagecoach...he was a decoy. Why would they have locked him in the coach? For dramatic effect at the expense of logic. In the end, half the town is shooting at Crowe, including the gang that has terrorized the railroads for so long, and they can't shoot either Bale or Crowe. Hard to believe they're a band of experienced outlaws. Oh, and with all that shooting they could have easily killed Crowe. No logic. Finally, they know he's headed to the railroad, but instead of just going there in the beginning and waiting, they chase them there. No logic. Oh, and there's only a few guys on the train. Even if he had made it, they could have shot the train conductor and freed him. When I write scripts that poorly, I get called out on it. when you put stars like Crowe and Bale in a vehicle with poor logic, nobody seems to notice. I think they call that the halo effect. I call it the new America.