Mick Jagger, Keith Richards, Ronnie Wood, Charlie Watts, Martin Scorsese, Jack White, Buddy Guy, Christina Aguilera, Bill Clinton (all appearing as themselves)
Dir. Martin Scorsese
This weekend, my better half and I went to a Rolling Stones concert. This is not entirely true – we went to see the movie Shine a Light. But, to be honest, it was probably better than a live concert. Now, I’m not a huge Rolling Stones fan, but even I was swept along by the music, the atmosphere, the dancing. Shine a Light was a fantastically filmed, insightful, entertaining movie about some truly talented and energetic musicians.
Shine a Light was filmed during the Stones’ “A Bigger Bang” tour, specifically the night of a benefit concert hosted by Bill Clinton and his Mrs in New York. Enter, stage right, Marty Scorsese, the original anal, control freak director. Enter, stage left, The Rolling Stones, a laid back bunch, who don’t finalise their set list until the lights go up. The juxtaposition will have you chuckling, and the result is simply great – it’s wonderfully intimate, flawlessly edited, consistently engaging. Along the way we are treated to footage of interviews with the Stones, from their very very very early beginnings, to their thoughts on being aged rockers.
Particular highlights include the guest appearances by Jack White, Buddy Guy and Christina Aguilera, who are obviously thrilled to be part of the gig. In fact my favourite number was White’s duet with Mick on “Loving Cup” – two gritty, wonderful voices. Keith Richards’ solo effort on “You Got the Silver” was also a treat to watch.
Obviously I recommend this film for fans of the Stones. But even if you’re not particularly enamoured, I’d recommend giving it a go. You won’t see a better concert on film.
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Martin Scorsese: We cannot set Mick Jagger on fire.
Monday, June 2, 2008
Monday, May 26, 2008
Indiana Jones and the Kingdom of the Crystal Skull
Harrison Ford, Cate Blanchett, Karen Allen, Shia LaBeouf, Ray Winstone, John Hurt, Jim Broadbent
Dir. Steven Spielberg
Scr. David Koepp
There was no need to make this film. No need. It wasn’t awful; at times it was entertaining. And it’s always a pleasure to hear that wonderful John Williams score. But this will go down as worst Indy movie – it lacked that signature gentle wit; it was self-indulgent; it was forgettable (so much so I can’t even muster the energy to write a full-length review). And for goodness sake, please don’t make any more Steven!
----------------------------
Mutt Williams: You know for an old man you ain't bad in a fight. What are you, like 80?
Dir. Steven Spielberg
Scr. David Koepp
There was no need to make this film. No need. It wasn’t awful; at times it was entertaining. And it’s always a pleasure to hear that wonderful John Williams score. But this will go down as worst Indy movie – it lacked that signature gentle wit; it was self-indulgent; it was forgettable (so much so I can’t even muster the energy to write a full-length review). And for goodness sake, please don’t make any more Steven!
----------------------------
Mutt Williams: You know for an old man you ain't bad in a fight. What are you, like 80?
Sunday, May 18, 2008
I'm Not There
Cate Blanchett, Heath Ledger, Christian Bale, Ben Whishaw, Richard Gere, Marcus Carl Franklin, Bruce Greenwood, Charlotte Gainsbourg
Dir. Todd Haynes
Scr. Todd Haynes & Oren Moverman
I was desperate to see this film. It fascinated me – six actors (including a woman and a child) playing Bob Dylan, but none of them actually playing Bob Dylan. Critically acclaimed, I’m Not There is an interesting and highly quotable film. It is also frustrating, extremely self-aware and, at times, yawn-inducing. The problem with this ambitious movie is that director/writer Haynes is under the mistaken assumption that everyone knows as much about Dylan has he does. I don’t. I think you’d struggle to find one in twenty people who do. This doesn’t necessarily make I’m Not There a failure, but it certainly makes it an unusual trip to the cinema.
I’m not going to try and summarise the plot of this film. It’s probably the least linear American film I have ever seen. Basically, we follow six different characters and the people surrounding them, in different eras and cities, who all represent an aspect of Bob Dylan’s life. Some of the characters are made up – an actor, a couple of singers. Some of the characters have existed in real life – Arthur Rimbaud, for example, was a French poet in the late 19th century; Billy the Kid was a famous American outlaw. All help tell the story of Dylan’s life – his many personalities and incarnations. Does it work? Well, kind of. Some were spot-on and easily recognisable. Some were a bit of a stretch. And some just didn’t make sense – for example, unless you know that (a) Dylan wrote the music for a movie about Billy the Kid and (b) Dylan vanished from the public eye for a number of years, how on earth does an elderly, in-hiding Billy the Kid represent Dylan? It’s problematic.
What saved I’m Not There for me was a number of fantastic performances. The six “Dylans” were all great. Gere, as Billy the Kid, was nicely weathered and noble. Ledger, as an actor who played one of the other “Dylans” (a singer) in a film – confusing, sorry! – was both unlikeable and immensely human. (Special mention also to Charlotte Gainsbourg, who plays Ledger’s wife – beautiful and haunting). Marcus Carl Franklin, a young black kid who christened himself Woody Guthrie (one of Dylan’s heroes), was heart-breaking and a great singer. For me, however, the stand outs were the three actors who played the most recognisable incarnations of Dylan – Whishaw as Rimbaud (think Dylan, the poet), Bale as singer Jack Rollins (think early Dylan), and Blanchett as singer Jude Quinn (think post-acoustic Dylan). Whishaw and Bale were outstanding and, sadly, underutilised. Both tortured and profound, this is the Dylan most know. The show really does belong to Blanchett however, who’s “Dylan” we get to know the most. Just like Dylan lost many, many fans when he “abandoned” folk music and plugged in his guitar, Blanchett’s Jude Quinn is suffering from the heavy weight of public expectation and stereotyping. As Whishaw’s Rimbaud warns “never create anything …it will chain you and follow you for the rest of your life”. Blanchett is phenomenal in this role – she really becomes “Dylan”.
I’m not going to completely dismiss I’m Not There. If you’re a huge Dylan fan, definitely see it - I am certain I missed half the point of the film because of my lack of Dylan knowledge. If you’re not, well, maybe not. But once it hits DVD, I may in fact watch it again. This movie would benefit greatly from the fast-forward button. If I could just watch the bits I really, really liked (and there were several), I would be a very happy camper.
------------------------------------------
Arthur Rimbaud: Seven simple rules of going into hiding: one, never trust a cop in a raincoat. Two, beware of enthusiasm and of love, both are temporary and quick to sway. Three, if asked if you care about the world's problems, look deep into the eyes of he who asks, he will never ask you again. Four, never give your real name. Five, if ever asked to look at yourself, don’t. Six, never do anything the person standing in front of you cannot understand. And finally seven, never create anything, it will be misinterpreted, it will chain you and follow you for the rest of your life.
Dir. Todd Haynes
Scr. Todd Haynes & Oren Moverman
I was desperate to see this film. It fascinated me – six actors (including a woman and a child) playing Bob Dylan, but none of them actually playing Bob Dylan. Critically acclaimed, I’m Not There is an interesting and highly quotable film. It is also frustrating, extremely self-aware and, at times, yawn-inducing. The problem with this ambitious movie is that director/writer Haynes is under the mistaken assumption that everyone knows as much about Dylan has he does. I don’t. I think you’d struggle to find one in twenty people who do. This doesn’t necessarily make I’m Not There a failure, but it certainly makes it an unusual trip to the cinema.
I’m not going to try and summarise the plot of this film. It’s probably the least linear American film I have ever seen. Basically, we follow six different characters and the people surrounding them, in different eras and cities, who all represent an aspect of Bob Dylan’s life. Some of the characters are made up – an actor, a couple of singers. Some of the characters have existed in real life – Arthur Rimbaud, for example, was a French poet in the late 19th century; Billy the Kid was a famous American outlaw. All help tell the story of Dylan’s life – his many personalities and incarnations. Does it work? Well, kind of. Some were spot-on and easily recognisable. Some were a bit of a stretch. And some just didn’t make sense – for example, unless you know that (a) Dylan wrote the music for a movie about Billy the Kid and (b) Dylan vanished from the public eye for a number of years, how on earth does an elderly, in-hiding Billy the Kid represent Dylan? It’s problematic.
What saved I’m Not There for me was a number of fantastic performances. The six “Dylans” were all great. Gere, as Billy the Kid, was nicely weathered and noble. Ledger, as an actor who played one of the other “Dylans” (a singer) in a film – confusing, sorry! – was both unlikeable and immensely human. (Special mention also to Charlotte Gainsbourg, who plays Ledger’s wife – beautiful and haunting). Marcus Carl Franklin, a young black kid who christened himself Woody Guthrie (one of Dylan’s heroes), was heart-breaking and a great singer. For me, however, the stand outs were the three actors who played the most recognisable incarnations of Dylan – Whishaw as Rimbaud (think Dylan, the poet), Bale as singer Jack Rollins (think early Dylan), and Blanchett as singer Jude Quinn (think post-acoustic Dylan). Whishaw and Bale were outstanding and, sadly, underutilised. Both tortured and profound, this is the Dylan most know. The show really does belong to Blanchett however, who’s “Dylan” we get to know the most. Just like Dylan lost many, many fans when he “abandoned” folk music and plugged in his guitar, Blanchett’s Jude Quinn is suffering from the heavy weight of public expectation and stereotyping. As Whishaw’s Rimbaud warns “never create anything …it will chain you and follow you for the rest of your life”. Blanchett is phenomenal in this role – she really becomes “Dylan”.
I’m not going to completely dismiss I’m Not There. If you’re a huge Dylan fan, definitely see it - I am certain I missed half the point of the film because of my lack of Dylan knowledge. If you’re not, well, maybe not. But once it hits DVD, I may in fact watch it again. This movie would benefit greatly from the fast-forward button. If I could just watch the bits I really, really liked (and there were several), I would be a very happy camper.
------------------------------------------
Arthur Rimbaud: Seven simple rules of going into hiding: one, never trust a cop in a raincoat. Two, beware of enthusiasm and of love, both are temporary and quick to sway. Three, if asked if you care about the world's problems, look deep into the eyes of he who asks, he will never ask you again. Four, never give your real name. Five, if ever asked to look at yourself, don’t. Six, never do anything the person standing in front of you cannot understand. And finally seven, never create anything, it will be misinterpreted, it will chain you and follow you for the rest of your life.
Sunday, May 11, 2008
Iron Man
Robert Downey Jr., Jeff Bridges, Terrence Howard, Gwyneth Paltrow, Shaun Toub, Faran Tahir
Dir. Jon Favreau
Scr. Mark Fergus, Hawk Ostby, Art Marcum & Matt Holloway (based on
Marvel characters)
As soon as AC/DC’s Back in Black assaulted my ears in the opening scene and Robert Downey Jr. eased into the snappy dialogue, I knew I was going to enjoy Iron Man. Sure, it requires you to suspend disbelief in a huge way. And, sure, it’s pretty darn violent. And, yeah okay, it’s not the most thought-provoking movie out there. But if you’re looking for laughs and sheer crash-bang-explosive entertainment, Iron Man is the film for you. As long as Downey Jr. is on board, I cannot wait for Iron Man 2.
Iron Man tells the story of Tony Stark, the head of multi-million dollar weapons producer Stark Industries. Stark is an engineering genius, with a weakness for women and scotch. The ultimate playboy, Stark is comfortable in the knowledge his weapons kill bad guys. When Stark is kidnapped in Afghanistan, he realises his weapons have fallen into some seriously dodgy hands and he is forced to build his newest, most destructive weapon for the enemy. Instead, Stark creates what will become his alter-ago – Iron Man.
Iron Man, both the superhero and the movie, looks astonishingly cool. This film is a gadget paradise and Stark’s home is packed with all the useful and unlikely technology I assume fills Bill Gates’s house. There are enough explosions to keep the most highly attention-deficit 12-year-old boy engaged. The special effects come pretty thick and fast, but in the high-tech world of Tony Stark and his creations, they don’t appear out of place or beyond belief.
By far the most engaging aspect of Iron Man is the dialogue and acting. And, specifically, Robert Downey Jr. Downey Jr. is, in my opinion, one of the finest actors of his generation and I’m extremely pleased to see him back in the saddle. 2005’s Kiss Kiss Bang Bang was a treat. And in Iron Man, Downey Jr. doesn’t disappoint. He is immensely likeable (in a “loveable rogue” sort of way), extremely sharp and looking every inch the superhero. Downey Jr. had a large part to play in the writing process and it shows – earlier drafts of the script were reportedly lacking in the humour that Downey Jr. brought to the project. And thank goodness! A major problem with superhero movies is the holier-than-thou attitude – I’m sorry, I’d rather stick needles in my eyes than spend a day with Superman. Boring! Stark is not Mr Do-Right. In fact, quite the opposite. He is spurred into action only when faced with the very real and close up repercussions of his life’s work. And, even then, he kills when necessary and likes to blow things up. Downey Jr.’s Iron Man is much like Batman, but with a sense of humour. And this humour, much of it ad-libbed by Downey Jr., is what sets Iron Man apart.
Downey Jr. is supported by some really great acting. It’s refreshing to see Jeff Bridges (who plays Stark’s business partner Obadiah Stane) be a true bad guy. We’re so used to seeing Bridges play the “everyman” role. He’s clearly having fun in Iron Man and he’s a hoot. Terrence Howard (as Stark’s long time friend and top military contact Jim Rhodes) is excellent. And Gwyneth (as Stark’s assistant Pepper Potts) is, well, not objectionable. And that’s all I really ask of Gwyneth.
I thoroughly enjoyed Iron Man. It won’t be everyone’s cup of tea – you know who you are, you snobby action-film haters … But its well worth the price of admission – you’ll be entertained, I promise.
-------------------------------------
Tony Stark: Is it better to be feared or respected? I say, is it too much to ask for both?
Dir. Jon Favreau
Scr. Mark Fergus, Hawk Ostby, Art Marcum & Matt Holloway (based on
Marvel characters)
As soon as AC/DC’s Back in Black assaulted my ears in the opening scene and Robert Downey Jr. eased into the snappy dialogue, I knew I was going to enjoy Iron Man. Sure, it requires you to suspend disbelief in a huge way. And, sure, it’s pretty darn violent. And, yeah okay, it’s not the most thought-provoking movie out there. But if you’re looking for laughs and sheer crash-bang-explosive entertainment, Iron Man is the film for you. As long as Downey Jr. is on board, I cannot wait for Iron Man 2.
Iron Man tells the story of Tony Stark, the head of multi-million dollar weapons producer Stark Industries. Stark is an engineering genius, with a weakness for women and scotch. The ultimate playboy, Stark is comfortable in the knowledge his weapons kill bad guys. When Stark is kidnapped in Afghanistan, he realises his weapons have fallen into some seriously dodgy hands and he is forced to build his newest, most destructive weapon for the enemy. Instead, Stark creates what will become his alter-ago – Iron Man.
Iron Man, both the superhero and the movie, looks astonishingly cool. This film is a gadget paradise and Stark’s home is packed with all the useful and unlikely technology I assume fills Bill Gates’s house. There are enough explosions to keep the most highly attention-deficit 12-year-old boy engaged. The special effects come pretty thick and fast, but in the high-tech world of Tony Stark and his creations, they don’t appear out of place or beyond belief.
By far the most engaging aspect of Iron Man is the dialogue and acting. And, specifically, Robert Downey Jr. Downey Jr. is, in my opinion, one of the finest actors of his generation and I’m extremely pleased to see him back in the saddle. 2005’s Kiss Kiss Bang Bang was a treat. And in Iron Man, Downey Jr. doesn’t disappoint. He is immensely likeable (in a “loveable rogue” sort of way), extremely sharp and looking every inch the superhero. Downey Jr. had a large part to play in the writing process and it shows – earlier drafts of the script were reportedly lacking in the humour that Downey Jr. brought to the project. And thank goodness! A major problem with superhero movies is the holier-than-thou attitude – I’m sorry, I’d rather stick needles in my eyes than spend a day with Superman. Boring! Stark is not Mr Do-Right. In fact, quite the opposite. He is spurred into action only when faced with the very real and close up repercussions of his life’s work. And, even then, he kills when necessary and likes to blow things up. Downey Jr.’s Iron Man is much like Batman, but with a sense of humour. And this humour, much of it ad-libbed by Downey Jr., is what sets Iron Man apart.
Downey Jr. is supported by some really great acting. It’s refreshing to see Jeff Bridges (who plays Stark’s business partner Obadiah Stane) be a true bad guy. We’re so used to seeing Bridges play the “everyman” role. He’s clearly having fun in Iron Man and he’s a hoot. Terrence Howard (as Stark’s long time friend and top military contact Jim Rhodes) is excellent. And Gwyneth (as Stark’s assistant Pepper Potts) is, well, not objectionable. And that’s all I really ask of Gwyneth.
I thoroughly enjoyed Iron Man. It won’t be everyone’s cup of tea – you know who you are, you snobby action-film haters … But its well worth the price of admission – you’ll be entertained, I promise.
-------------------------------------
Tony Stark: Is it better to be feared or respected? I say, is it too much to ask for both?
27 Dresses
Katherine Heigl, James Marsden, Edward Burns, Malin Akerman
Dir. Anne Fletcher
Scr. Aline Brosh McKenna
If there was a Movie God, who righted movie wrongs, I would get these 107 minutes of my life back. Alas, no such deity exists.
‘Nuff said.
----------------------------------
Jane's Aunt: Must be so hard to watch your younger sister get married before you.
Jane: Yes. Then I remember that I still get to have hot hate sex with random strangers and I feel SO much better!
Dir. Anne Fletcher
Scr. Aline Brosh McKenna
If there was a Movie God, who righted movie wrongs, I would get these 107 minutes of my life back. Alas, no such deity exists.
‘Nuff said.
----------------------------------
Jane's Aunt: Must be so hard to watch your younger sister get married before you.
Jane: Yes. Then I remember that I still get to have hot hate sex with random strangers and I feel SO much better!
Sunday, April 13, 2008
Lars and the Real Girl
Ryan Gosling, Emily Mortimer, Paul Schneider, Kelli Garner, Patricia Clarkson
Dir. Craig Gillespie
Scr. Nancy Oliver
Lars and the Real Girl is an odd, endearing film. The subject matter could have easily led to a crass movie, filled with off-colour jokes and gutter appeal. Instead, the film is a touching story of loneliness, growth and, ultimately, love. Top-notch acting abounds in Lars and the Real Girl, with excellent performances from an impressive cast. It’ll make you giggle, that’s for damn sure, but this film may also see you unexpectedly shed a tear.
Lars and the Real Girl tells the story of Lars Lindstrom, a 30-year-old introvert living in his brother’s garage, who, despite working every day, is trying his best to avoid all human contact. Oblivious to the girl at work with a crush on him, blind to how much people care about him, Lars is an odd boy – human physical contact actually causes him physical pain, and he clearly has issues with intimacy of any kind. So, when Lars tells his brother and his wife that a girl he met on the internet is coming to stay and could she sleep in their guest room, they are both stunned and ecstatic. When the girl turns out to be Bianca – a real doll – they are just plain stunned. What comes next is testament to the fact there is still goodness in the world, though you have to be prepared to suspend much disbelief to actually buy that an entire town would play along with Lars’s delusion (even if they are Canadian).
This film succeeds because it doesn’t go where most would expect it to go – Lars doesn’t want to have sex with his real doll (although she is anatomically correct). He wants a companion who won’t leave him or die. He wants to be normal, or at least live the delusion of being normal. He doesn’t want to be alone. We’ve all been there. So, we have a story with heart. Sure, there’s a few laughs along the way – how could there not be! Maybe it’s a bit precious – cynics might have a hard time sitting through this film. But if you’re looking for something to warm the cockles of your heart, this is the one.
The acting in Lars and the Real Girl is, without exception, brilliant. Ryan Gosling is a revelation in the lead role. A perfect performance as one of the most insular characters you will ever see. The scenes between him and Doctor Dagmar (who, under the guise of “treating” Bianca, plays counsellor to Lars) are outstanding. Dagmar is played by the fantastic Patricia Clarkson and she is simply sublime. When she delivers the line “sometimes I get so lonely I forget what day it is and how to spell my name” I had to stop myself from bursting into tears. Lars’s brother, Gus, and his wife, Karin, are played by Paul Schneider (a near unknown to me) and Emily Mortimer (an extremely prolific and lovely Brit), and they are both wonderful. Mortimer especially gives a heartfelt and gutsy performance. A great turn also from Kelli Garner as Lars’s colleague Margo.
Lars and the Real Girl won’t be to everyone’s taste. A charming film, some will find a little too hard to swallow. But I heartily recommend Lars. The acting is great, the script is smart and witty, and the story restored my faith in human kindness and acceptance. For a while, anyway.
----------------
Lars: [after giving some flowers to Bianca] See, they're even fake so they'll never die.
Dir. Craig Gillespie
Scr. Nancy Oliver
Lars and the Real Girl is an odd, endearing film. The subject matter could have easily led to a crass movie, filled with off-colour jokes and gutter appeal. Instead, the film is a touching story of loneliness, growth and, ultimately, love. Top-notch acting abounds in Lars and the Real Girl, with excellent performances from an impressive cast. It’ll make you giggle, that’s for damn sure, but this film may also see you unexpectedly shed a tear.
Lars and the Real Girl tells the story of Lars Lindstrom, a 30-year-old introvert living in his brother’s garage, who, despite working every day, is trying his best to avoid all human contact. Oblivious to the girl at work with a crush on him, blind to how much people care about him, Lars is an odd boy – human physical contact actually causes him physical pain, and he clearly has issues with intimacy of any kind. So, when Lars tells his brother and his wife that a girl he met on the internet is coming to stay and could she sleep in their guest room, they are both stunned and ecstatic. When the girl turns out to be Bianca – a real doll – they are just plain stunned. What comes next is testament to the fact there is still goodness in the world, though you have to be prepared to suspend much disbelief to actually buy that an entire town would play along with Lars’s delusion (even if they are Canadian).
This film succeeds because it doesn’t go where most would expect it to go – Lars doesn’t want to have sex with his real doll (although she is anatomically correct). He wants a companion who won’t leave him or die. He wants to be normal, or at least live the delusion of being normal. He doesn’t want to be alone. We’ve all been there. So, we have a story with heart. Sure, there’s a few laughs along the way – how could there not be! Maybe it’s a bit precious – cynics might have a hard time sitting through this film. But if you’re looking for something to warm the cockles of your heart, this is the one.
The acting in Lars and the Real Girl is, without exception, brilliant. Ryan Gosling is a revelation in the lead role. A perfect performance as one of the most insular characters you will ever see. The scenes between him and Doctor Dagmar (who, under the guise of “treating” Bianca, plays counsellor to Lars) are outstanding. Dagmar is played by the fantastic Patricia Clarkson and she is simply sublime. When she delivers the line “sometimes I get so lonely I forget what day it is and how to spell my name” I had to stop myself from bursting into tears. Lars’s brother, Gus, and his wife, Karin, are played by Paul Schneider (a near unknown to me) and Emily Mortimer (an extremely prolific and lovely Brit), and they are both wonderful. Mortimer especially gives a heartfelt and gutsy performance. A great turn also from Kelli Garner as Lars’s colleague Margo.
Lars and the Real Girl won’t be to everyone’s taste. A charming film, some will find a little too hard to swallow. But I heartily recommend Lars. The acting is great, the script is smart and witty, and the story restored my faith in human kindness and acceptance. For a while, anyway.
----------------
Lars: [after giving some flowers to Bianca] See, they're even fake so they'll never die.
Sunday, March 30, 2008
3:10 to Yuma
Russell Crowe, Christian Bale, Peter Fonda, Gretchen Mol, Ben Foster, Alan Tudyk, Logan Lerman
Dir. James Mangold
Scr. Halsted Welles, Michael Brandt & Derek Haas (based on the short story by Elmore Leonard)
3:10 to Yuma is a sharp, action-packed, somewhat uneven western, with some good acting and a rubbish ending. Crowe and Bale are perfectly on-song, and are supported by a strong cast. I like a good western, and 3:10 to Yuma is close enough to being one to have entertained me. Don’t expect cinematic brilliance, but do expect a good night out.
Dan Evans (Bale), a small-time, struggling, one-legged rancher and Civil War veteran signs on to join a small group of men whose job it is to make sure outlaw Ben Wade (Crowe) catches the 3:10 train to Yuma, where he will be tried and hung for a slew of hold-ups and murders. The film follows their journey, and focuses on the battle of wills between Evans and Wade – Wade trying to corrupt the rancher; Evans trying his darnest to get Wade on that train and collect his $200 reward. Tagging along for the ride is, among others, Evans’ teenage son (Lerman) who has long since lost respect for his father and starts to see Wade as someone worth looking up to. Hot on their tail is Wade’s gang, led (in Wade’s absence) by the psychotic Charlie Prince (Foster), hell-bent on freeing Wade and killing anyone who gets in their way.
As in any good western, there is much of a moral nature to ponder – is Wade all bad? Is Evans all good? What will a man do when he is pushed to his limit? Evans is, by far, the most interesting and complex character and his journey is extremely compelling. Wade seems more clear-cut, but in the end, changes in a way that is simply unbelievable - sorry, I just didn’t buy it. The ending of 3:10 to Yuma does not entirely ruin what has come before, but it does make you exclaim “WTF?!” and feel slightly ripped off by the filmmakers. This would have been a finer film if it had ended differently. Just don’t ask me how I would have ended it …
The acting in this film is very solid indeed. There are some great turns by the supporting cast. Peter Fonda is simply a joy to watch, as a weathered and grizzly bounty-hunter. Alan Tudyk injects some humour and light to an otherwise heady story. Gretchen Mol gives an excellent performance as Evans’ wife. Ben Foster is chilling as Wade’s showy and ruthless right-hand man. Lerman is very good as William, the wide-eyed teenage son of Evans. The film really does hinge, however, on the performances of and relationship between Crowe and Bale. Crowe was clearly having fun as the confident, badass Wade and plays the role with relish. Bale, tackling a more nuanced and morally ambiguous character, is simply excellent in this film. More proof, if any was needed, that Bale is one of the finest actors of his generation. The film benefits from the almost tangible chemistry between Crowe and Bale.
The “shoot-em-up” in 3:10 to Yuma is perhaps a bit heavy-handed in parts. And it wasn’t as dusty and grimy as it perhaps should have been. But, all in all, this film feels and looks like a western of old. It could certainly have been 15 minutes or so shorter – perhaps they could have cut out the bad ending altogether! But these criticisms aside, I enjoyed this film and recommend it to anyone who is a fan of the western genre.
-----------------
Ben Wade: You ever read the bible, Dan? I read it one time. I was eight years old. My daddy just got hisself killed over a shot of whiskey and my mama said "we're going back East to start over". So she gave me a bible, sat me down in the train station, told me to read it. She was gonna get our tickets. Well, I did what she said. I read that bible from cover to cover. It took me three days. She never came back.
Dir. James Mangold
Scr. Halsted Welles, Michael Brandt & Derek Haas (based on the short story by Elmore Leonard)
3:10 to Yuma is a sharp, action-packed, somewhat uneven western, with some good acting and a rubbish ending. Crowe and Bale are perfectly on-song, and are supported by a strong cast. I like a good western, and 3:10 to Yuma is close enough to being one to have entertained me. Don’t expect cinematic brilliance, but do expect a good night out.
Dan Evans (Bale), a small-time, struggling, one-legged rancher and Civil War veteran signs on to join a small group of men whose job it is to make sure outlaw Ben Wade (Crowe) catches the 3:10 train to Yuma, where he will be tried and hung for a slew of hold-ups and murders. The film follows their journey, and focuses on the battle of wills between Evans and Wade – Wade trying to corrupt the rancher; Evans trying his darnest to get Wade on that train and collect his $200 reward. Tagging along for the ride is, among others, Evans’ teenage son (Lerman) who has long since lost respect for his father and starts to see Wade as someone worth looking up to. Hot on their tail is Wade’s gang, led (in Wade’s absence) by the psychotic Charlie Prince (Foster), hell-bent on freeing Wade and killing anyone who gets in their way.
As in any good western, there is much of a moral nature to ponder – is Wade all bad? Is Evans all good? What will a man do when he is pushed to his limit? Evans is, by far, the most interesting and complex character and his journey is extremely compelling. Wade seems more clear-cut, but in the end, changes in a way that is simply unbelievable - sorry, I just didn’t buy it. The ending of 3:10 to Yuma does not entirely ruin what has come before, but it does make you exclaim “WTF?!” and feel slightly ripped off by the filmmakers. This would have been a finer film if it had ended differently. Just don’t ask me how I would have ended it …
The acting in this film is very solid indeed. There are some great turns by the supporting cast. Peter Fonda is simply a joy to watch, as a weathered and grizzly bounty-hunter. Alan Tudyk injects some humour and light to an otherwise heady story. Gretchen Mol gives an excellent performance as Evans’ wife. Ben Foster is chilling as Wade’s showy and ruthless right-hand man. Lerman is very good as William, the wide-eyed teenage son of Evans. The film really does hinge, however, on the performances of and relationship between Crowe and Bale. Crowe was clearly having fun as the confident, badass Wade and plays the role with relish. Bale, tackling a more nuanced and morally ambiguous character, is simply excellent in this film. More proof, if any was needed, that Bale is one of the finest actors of his generation. The film benefits from the almost tangible chemistry between Crowe and Bale.
The “shoot-em-up” in 3:10 to Yuma is perhaps a bit heavy-handed in parts. And it wasn’t as dusty and grimy as it perhaps should have been. But, all in all, this film feels and looks like a western of old. It could certainly have been 15 minutes or so shorter – perhaps they could have cut out the bad ending altogether! But these criticisms aside, I enjoyed this film and recommend it to anyone who is a fan of the western genre.
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Ben Wade: You ever read the bible, Dan? I read it one time. I was eight years old. My daddy just got hisself killed over a shot of whiskey and my mama said "we're going back East to start over". So she gave me a bible, sat me down in the train station, told me to read it. She was gonna get our tickets. Well, I did what she said. I read that bible from cover to cover. It took me three days. She never came back.
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