3:10 to Yuma

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

Just saw a screening of this movie in New York. Amazing. Bale continues to prove that he is quickly becoming one of the best lead actors out there. Crowe exudes cool throughout the movie as a heartless, smooth talking, Bible quoting killer. Of course...Ben Foster. Yes. Ben Foster. Welcome him to the bigtime, cause he made this movie. There hasn't been a western with a character so badass as the one Ben Foster plays in this movie. Story-wise, the movie is an opposite Butch Cassidy and the Sundance Kid, with the good guys trying to run away from the bad guys in order to make a 3:10 train to Yuma. What ensues is an awesome movie you wanna watch till the last battle.

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.

It seems as though back in the fifties every other western seemed to have Frankie Laine singing the theme song. The 1957 version of 3:10 to Yuma is one of my favorite westerns. Part of the reason is that theme which echoed through out the film.

What I liked about 3:10 to Yuma is that the hero/protagonist is an ordinary man trying to support his wife and two sons through some very hard times. When a killer is caught and because he needs the money he agrees to help transport him to Yuma State Prison on the 3:10 train from Contention. A lot happens between the capture and the boarding of that fateful train.

Russell Crowe and Christian Bale make admirable updated substitutes for Glenn Ford and Van Heflin. Though Ford's performance as the sly rogue of a gunman is good, the previous film was driven by what I always considered Van Heflin's greatest screen role.

The original holdup was hardly the violent affair that this one was. Only one shot was fired and that was by Ford when the shotgun guard momentarily overpowered one of the gang. That's here too, but the holdup itself was taken from The War Wagon.

One part was totally eliminated and that was the part of the town drunk, played by Henry Jones in the original version, who was the only other man to volunteer his services. Jones was killed in a gut wrenching scene then, but in fact my favorite scene from the original was when Heflin's wife Leora Dana pleads with him to let Ford go, he responds with a heartfelt speech about how he couldn't look himself in the face after the sacrifice the town drunk made. I've seen the 1957 version dozens of times and am never failed to be moved by that scene.

In its place the part of the oldest son is built up and conversely the wife's part is cut down. Young Logan Lerman plays the older son who tags along after the group taking Crowe to Contention. Lerman is 14 and he and Bale have the usual father/son issues. Lerman feels his Dad to be a failure with things going so wrong against them. Bale and he bond during the shared experience and you know no matter what the outcome of things, he'll leave a good legacy for his children.

The usual tension between Bale and Crowe is present as it was in the original when Ford kept trying to bribe Heflin. Added to this is a whole lot of violence, most of it started by Ben Foster who's part as the young punk outlaw in the original was played by Richard Jaeckel. Foster is one murderous thug in this film, only Crowe is able to keep him somewhat in line.

The characterization is still there, the violence is expected in this day and age even though a lot of it is gratuitous. This version of 3:10 to Yuma is fine, but it can never take the place of the original in my affections.

This review is dedicated to young Harve Stewart of Stephenville, Texas and one of the Professional Bull Riders best young stars. I saw an interview with him where he mentions this is a film he likes. I liked it too, but I would commend him to watch the original 3:10 To Yuma which is just one of the best western dramas ever made. It was out in 1957 and I was 10 years old at the time. I'm old enough to be Harve's grandfather and I'm sure back in the day 3:10 To Yuma was enjoyed by his real grandparents in the theater.

I really can't be bothered to write an in depth review, but I feel like this needs to be said.

The last 20 minutes or so of the film turn this from mediocre, to rubbish.

No one's actions, or reactions seem to make any sense nor are they the least bit believable.

In your head you will say things like: "why has he done that?" "well that wouldn't happen" "that's not how that character would react" "but what about (X)?"

The only saving graces of this film is the good acting.