American Outlaws

There is just something about seeing a western that has real characters in it. What is it about outlaws that peaks our interest? What was it about Jesse James that made people love him so much? Was he really as benevolent as he was made to be in this film? Was he really as crazy and theological as he was in the Rob Lowe/Bill Paxton film Frank and Jesse? I'm not really sure, I would probably have to guess he was somewhere in between. In American Outlaws Jesse is played rather blandly by Colin Ferrel. I can honestly say that I wasn't overly interested in Jesse James in this film the way I was in Frank and Jesse. Rob Lowe had a much more complete interpretation of outlaw Jesse James. But what may be lacking in the leads is more than made up for in some of the supporting characters, and for that I would say that American Outlaws is almost worth seeing. Not quite, but if you have nothing better to do with $10.00, go see this film.

Gabriel Macht plays Jesse's older brother Frank and Timothy Dalton, of James Bond fame plays Alan Pinkerton, the man responsible for hunting down the James gang. Macht plays Frank James as the older and much wiser brother. He calmly solves disputes, writes and plans many of the heists and robberies and helps Jesse court the love of his life. Yet he is not there to take the spotlight away from his brother or from Cole Younger. Frank is basically a peacemaker. I enjoyed Macht's performance and when he was on screen the picture was a lot more interesting. He adds some needed credibility to a somewhat lame film. When you have great actresses like Kathy Bates looking disasterous in their small roles, you know you are in trouble. I don't know if you can attribute all of this to the director, Les Mayfield, but it has to start somewhere. The actors weren't really allowed to shine and maybe a few more takes should have been filmed before deciding on which one to use.

Two other actors stood out as well and one of them was Timothy Dalton. He seemed a little out of place in this film. He just looked as though he was one step ahead of everyone else and just seemed to know something that we didn't. He could make you think that just by a smirk, or a tone of voice or a tip of his black fedora. He is evil, conniving and yet he has some admiration for the James/Younger gang. He can empathize with their situation but his job is to hunt them down and kill them. I would like to see Dalton in more roles like this, he was fun to watch in this film. Also intriguing to watch is Will McCormack as Bob Younger. He is unfamiliar to me but anyone who watches The Sopranos religiously will recognize him from a few episodes. I thought he was believable in his smaller role as one of the Younger brothers. At first he comes off as being a little slow, but his character builds towards the end and eventually he turns out to be one of the stronger characters.

It's a shame that American Outlaws couldn't build a better script around these three characters because they seemed better than the script they were given.

American Outlaws isn't a bad film, it's not really a great one either but it is worth a look. If anything, it will make you want to go home and pop in your copy of Tombstone and remember what it is like to have compelling Western characters.

6 out of 10--could be better, could be worse.

I thought this movie would be awful, but I was surprised. This film is not great, and done on a low budget, but has some entertainment value. They have the James gang portrayed as good guys in this film, not a realistic version. Timothy Dalton plays a good role as Pinkerton. In the end this film is a little like Raiders of the Lost Ark.

It's not the Long Riders and it's not Who shot Jesse James. It's loosely factual and sometimes comical. Make up your own mind. It's entertaining and isn't that what movies are supposed to be?

The legend of Jesse James is one of those stories that people just never seem to get tired of. Every few years, we see a new cinematic version of the life of James, a former Confederate raider who became a folk hero after he turned to banditry following the war. The latest iteration of the story is "American Outlaws", a red-blooded B-style shoot-'em-up that offers little in the way of historical accuracy and even less in the way of storytelling elegance, but does serve up plenty of action and lots of fun.

Jesse (hot Irish newcomer Colin Farrell) makes a name for himself on the battlefields of the Civil War as an unpredictable live wire willing to do anything to get the Yankees. After the war, he and his levelheaded sure-shot brother Frank (Gabriel Macht) return to their home in Liberty, Missouri, only to find the railroad coming through town. The big rail money, backed up by hard-skulled detective Allen Pinkerton (a glowering Timothy Dalton), wants to buy the James farm, but the boys aren't selling. They didn't shed their blood on the battlefields just to give their home over to a railroad. Soon, however, it's back to war when a bomb destroys their farmhouse and the only way to get revenge is to strap on your guns and ride. As they rob railroad payrolls and bedevil the authorities, Jesse, Frank, and their gang get something besides revenge: they become authentic American legends.

It's a story every schoolboy knows. Hell, Bobby Brady was a Jesse James aficionado. Still, it's been a while since we've had a telling of the story, and this one does a fairly good job of keeping us entertained. Les Mayfield is not the obvious choice to direct a western (his most notable previous film was "Encino Man" with Pauly Shore), but he actually does a decent job. He handles the action sequences with flair, particularly a crackerjack bank shootout and Jesse's escape from the rail baron's train. The film's period accoutrements are all present and accounted for, the costumes and guns appropriately impressive, the cinematography by Russell Boyd all vibrant browns and golds.

There are also some nice performances from the mostly young cast. Colin Farrell makes Jesse a likable, oddly sweet kid whose charm is just as deadly as his gun. Scott Caan matches him as the hotheaded Cole Younger (more on him later), and Gabriel Macht is a sensible and solid Frank, his performance the best thing in the film. Ali Larter is nice eye candy as Jesse's lady love, but the story really gives her nothing to do, and while Dalton growls impressively behind a grungy-looking beard, he doesn't really get the chance to do anything evil.

This is where "American Outlaws" starts shooting itself in the foot. There is no real sense of a concrete enemy for the boys to battle, a true and implacable adversary. Harris Yulin blusters and barks as the railroad baron, but he never truly emerges as a figure of loathing. As a result, the film's finale is unfocused and confusing. Pinkerton's final action in particular makes no sense to me at all. Is he just giving a cocky young kid the benefit of the doubt? Is he doing it because Jesse's wife is hot? I don't get it.

"American Outlaws" is a frustrating film in some ways because everything you like is balanced by something that rubs you the wrong way. A great Civil War battle opening is marred by the sparseness of the Union ranks (Mayfield should have called for more extras that day). An appropriately Coplandesque score by Trevor Rabin is almost wholly sabotaged by the inclusion of a Moby song (MOBY!) at both the beginning and the end of the film. It almost makes you want to grab a six-gun yourself and blaze away at the troublemakers, leaving behind only those who are contributing admirably to the enterprise.

Still, I've come to expect the good with the bad this summer, and "American Outlaws" joins "Tomb Raider" and "The Mummy Returns" as a piece of escapism that is better than the critics' comments indicate, but not as good as it probably should be. Still, with these flouncy dull MTV teen comedies STILL dominating the marketplace, it's nice to see someone delivering a good old fashioned genre piece. In these parlous cinematic times, even a problematic western is better than no western at all.

I close with a bit of real history: after they stopped riding with the James boys, Cole Younger and his outlaws kept going, and one time even attempted to rob a farmhouse in their area. The woman of the house got the drop on them, though; she slammed a window on a gang member's hand, costing him two of his fingers. She survived to live a healthy long life, and have children and grandchildren of her own. One of those grandchildren was my grandmother. Someone should put THAT in a movie. It would make me happy.

I knew not to expect much from AMERICAN OUTLAWS. The glory days of westerns are long gone, and the new ones can't all be SILVERADOs and WYATT EARPs. But I was expecting to at least have a fun time, even if it was another film that portrayed real-life bad guys as the "heroes" of the movie.

Even on just a level of pure entertainment, AMERICAN OUTLAWS didn't score that well. I'm not sure why, but this film was just bland most of the time, and the actors (despite some talented ones in the parts) just seemed to walk through the performances, as if they were simply trying to just get the whole thing over with. Even the versatile Timothy Dalton seemed to be at a lost as to what to do.

And the characters themselves were terrible. By the end of the film, we still knew nothing about any of them. I like to have at least some understanding of the characters in a film. Whether they're the good guys or the bad guys, at least give me something about them to understand, sympathize with, or relate to. Sure, Frank and Jessie wanted revenge for a personal tragedy, but the depiction of that tragedy is handled so lazily we often forget about it for the rest of the film. The other characters tagging along with the brothers do so to make a stand against the railroad tycoon (Harris Yulin), but again, we don't get anything from them personally to make us root for their success.

A couple of the action scenes are nicely-executed, if sometimes over the top. The Hyperion job is the standout sequence of the entire film, as the James-Younger gang must fight their way out of a trap while attempting to rob a bank. And Trevor Rabin's exciting score (which I had already bought a few months ago and really enjoyed) helped make some of the boring parts seem more important.

Perhaps if the script had treated the material seriously and if the director had stayed awake during the shoot, it might have at least passed as a good time-waster for a dull Saturday night.