3:10 misión peligrosa

Decent Western, the ending was ridiculous though. It ruined the film.

OK so no one in this entire group of Pinkertons thinks to gag and restrain/ tie up Villain Ben the most dangerous outlaw in the area? He starts playing psychological warfare at a campfire the first night they have him and he continues it all the way to Yuma. Nobody gags him. Come on, let's be real. What kind of enormous gaping hole is that in the writing...Anyone in this situation would have at the very least gagged him and most likely he would've been heavily restrained.

The western genre is all but dead in Hollywood these days but every now and then a film comes along that reminds us of the genre's potential. The last one was Costner's OPEN RANGE, and this one manages to be even better than that thanks to the central pairing of Russell Crowe and Christian Bale. 3:10 TO YUMA is an actor's film from the off, a powerhouse pairing of two Hollywood stars at the top of their game, who can actually act.

Although the rest of the movie is excellent it's these two guys who make it unmissable. Clearly, this isn't some kind of B-movie with black and white characters; Crowe is introduced as the chief villain yet ends up showing a lot more humanity and character than many of the good guys. Bale takes his flawed hero role and runs away with it, turning what could have been a caricature – what with his crippled leg and everything – into a deeply human guy who you just can't stop watching.

The plot works really well because it's fast paced. The story is told through action, which is a very difficult thing to achieve – off the top of my head only the BOURNE films and the TERMINATOR films are similarly successful. There are dozens of shoot-outs, things exploding, showdowns and more – all you could expect from a hi-tech western and all expertly choreographed. Yet it's the script, too, which makes the film, creating thoroughly engaging 'quiet' moments just as riveting as all the chases and shooting. My favourite scene is in the run-up to the showdown, set in a hotel's bridal suite, where the assorted characters ponder their fate and decide their futures. It's tremendously suspenseful and edge-of-the-seat viewing material.

The supporting cast does a very good job – from an almost unrecognisable Peter Fonda as a grizzled cowboy to Ben Foster as another creepy, hateable bad guy. Director James Mangold has proved himself in the past with the likes of COP LAND and he once again shows that he's a master of his craft, able to deliver a solid, exciting and highly entertaining movie despite the familiarity of both the setting and the set-up. 3:10 TO YUMA is a masterful film and one to be enjoyed over and over.

"The boys dressed themselves, hid their accoutrements, and went off grieving that there were no outlaws any more, and wondering what modern civilization could claim to have done to compensate for their loss. They said they would rather be outlaws a year in Sherwood Forest than President of the United States forever." Mark Twain's Adventures of Tom Sawyer

In 3:10 to Yuma, a few references to The Magnificent Seven and the idea of a train arriving at a specific time when good and bad guys converge, as in High Noon, made viewing this Glenn Ford remake from 1957 a pleasant one. And right I was but for even more good reasons.

Not since Unforgiven and The Quick and the Dead have I been as excited about seeing a Western in its heroic and revisionist forms. 3:10 to Yuma is a true Western in the American film tradition about the 19th-century American West: It has clear heroes and villains (and a mixture of those), wide prairies, dirty towns, fast guns, weak lawmen, cunning murderers, kids on the cusp, and women marginalized, just for starters.

Then ratchet up to the philosophical/post modern/post Eastwood reflections on the profession of being a gunman juxtaposed with being a responsible father, and you have an classic angst-filled clash where villain has a wee bit of heart and hero an equal measure of cowardice. Delightfully mix in a certifiable baddie in the Lee Van Cleef/Jack Palance tradition, Ben Foster (Alpha Dog) as Wade's amoral lieutenant Charlie Prince (as in "of darkness"). Best of all, it is nail-bitingly suspenseful and beautifully photographed.

In order to pickup some home-saving cash, poor crippled farmer Dan Evans (Christian Bale) is helping transport murderer Ben Wade (Russell Crowe) to court via the 3:10 to Yuma from Bisbee, Arizona. Getting Wade to the station is no easy task, even for the several deputies, because Wade's evil gang is in hot pursuit and more importantly, Wade is psychologically working on them from within, alternately charming and brutal; just imagine his roguish smile behind an extremely fast gun and unscrupulous conscience.

It's hard to believe a studio could dump such a winner in the dog days of summer. I will say only that if you have even a modicum of respect for this genre, see 3:10 to Yuma and relive the golden days of straight-up shoot-em ups with rough-hewn characters, electric plot, and revisionist attitude about the romance of being an outlaw or a farmer. Get there on time because that movie train goes fast from the get go.

Long ago, I saw the original 3:10 to Yuma featuring Van Heflin and Glen Ford, but I don't remember it well enough to compare it with James Mangold's new remake. Instead, my review will focus exclusively on the new film.

Mangold's film is a tense, traditional western based on an Elmore Leonard story. Leonard is a solid writer, and gave the material upon which the film is based enough background and characterization to permit willful suspension of disbelief. Mangold's film does the same. Our protagonist and antagonist are, respectively, Dan Evans (Bale) and Ben Wade (Crowe). Evans is a would-be rancher and family-man whose family is suffering from a drought and a merciless landlord. Evans and his boys cross paths with notorious outlaw Ben Wade and his gang on their way into town to confront their landlord, and Wade whimsically lets them go. But the connection between these two men and Dan's eldest son is far from over. Eventually Dan will accept an offer made by a railroad agent to help escort Wade to a train headed to Yuma prison, while Wade's crew of murderers dogs their every step.

Two performances stood out for me - Bale and Ben Foster (Charlie Prince). Crowe was good, but it's not clear that he engaged with his role with his usual intensity. There are several very talented actors in supporting roles, and they each pull off the transition to the western genre quite nicely (Alan Tudyk, Logan Lerman, Gretchen Mol, Peter Fonda and others). The film showcases the acting talent very well without losing sight of its straightforward but interesting story.

More often than not, good westerns are at least as much character studies as they are 'shoot-em-ups'. After all, it pretty close to impossible to enjoy a film in which anybody might drop dead at any given time without caring about the people you are watching die, or those doing the killing. Mangold achieves this by drawing on the simple strengths of the original material and allowing relationships to dominate both the story's development and the cinematography. For a western, there is a tremendous amount of dialog in this film, coupled with the usual meaningful stares. Wade is so wily and unpredictable that you really never know what to expect out of him, and his crew is headed up by his loyal and equally nihilistic protégé Charlie Prince. Dan Evans is his polar opposite, and Dan's son is an unusually accurate and complex Hollywood portrayal of a teenager. These and other relationships are the strengths and the medium of the film. When the camera isn't being used to build tension before a battle or showing us a gun-fight, it is establishing relationships and character. And many of the characters and relationships we see are surprising, ambiguous and more than a little ironic.

Highly recommended for western fans.