When infamous outlaw Ben Wade (Russell Crowe) gets captured in late 19th century Arizona the plan is to transport him to a train en route to Yuma prison(leaving at 3:10 of course). But in the 1800s bringing someone to justice is as arduous as it sounds especially since horses are the only mode of transportation and their carriages the only place to house a prisoner. Across “town ” rancher Dan Evans (Christian Bale) is struggling mightily to support his wife (Gretchen Mol) and kids (Logan Lerman and Benjamin Petry) following a drought and needs to build a well for his family. So when he receives a nominal financial offer to help transport the notorious felon he jumps at it dutifully and desperately. While on the trail that leads to the train station no amount of physical or verbal threat is too much for Wade to break free of with ease. But when it comes to the law-abiding rancher for whom Wade has a certain respect his escape becomes much more complicated than getting out of handcuffs. 3:10 to Yuma’s pairing of Batman and Cinderella Man is perfect in concept and execution and watching the two stars is more than a sight to behold—it is transfixing like watching any two longtime professionals make something difficult look easy. It’s the first of two such powerhouse pairings for Crowe this fall—he co-stars with Denzel Washington in November’s American Gangster—and if this small sample size is any indication big-name costars bring out the best in him. Crowe evokes the kind of real humanistic villain that could only exist in a Western and by playing Wade with equal parts amiability and evil the Oscar winner turns in what is probably his most purely charismatic performance to date. Bale’s character on the other hand—and per usual—is loath to crack a smile a quality the actor has mastered. The Yoda of dialect Welsh-born Bale also has no difficulty switching over to Ol’ West speak but it’s the way he conveys the rancher’s stoicism and will that makes him even more credible. Among the supporting turns Ben Foster (Alpha Dog) stands out as a cranked-up trigger-happy member of Wade’s gang and stalwart Peter Fonda is perfectly cast as a tough ‘n’ gruff bounty hunter. When director James Mangold turned Johnny Cash’s life story into Walk the Line it was the romantic version of a much darker tale. For 3:10 to Yuma a remake of the beloved 1957 Glenn Ford-starrer Mangold gives the Western the same treatment. In attempting to reel in today’s action-happy audience Mangold waters down the drama and speeds up the pace. Minor tweaks for this modern update equal a bit of a departure from true Western style with the dialogue for example as snappy as one of today’s action comedies. But it’s all in good fun. The Old West looks completely authentic and the unforgettable ending is perhaps made possible by the director’s innocuous first two acts. Even so his efforts and those of the screenwriters (Derek Haas Michael Brandt and Halstead Wells who wrote the original) aren’t enough to perform CPR on the Western—not that it’s fair to rest the fate of entire dying genre in their hands.
Three Burials is languid simplicity at its best. The story starts off as a murder mystery of sorts when a Mexican man Melquiades Estrada is found shot dead outside a dusty Texas town near the U.S./Mexican border. Without any family he’s written off and unceremoniously buried in a shallow grave. This is not at all satisfactory for Pete Perkins (Jones) a local ranch foreman and Melquiades’ only friend. Pete decides to investigate his friend’s murder on his own and finds out the culprit is a young hot-headed border patrolman named Mike Norton (Barry Pepper). He kidnaps Mike and forces him to disinter the body. With his captive in tow and the body tied to a mule Pete then undertakes a dangerous and romantic journey into Mexico to give Melquiades a proper burial. The older he gets the more Tommy Lee Jones excels at portraying a man of few words. Maybe its because his face--filled with years of deep lines and crevices--can explain everything just by staring off into the distance or by coldly glaring at an enemy. As Pete (for which Jones won best actor prize at the Cannes Film Festival) the actor hands us a lonely cowboy who finds a friendship with an unlikely amigo (played by Julio Cedillo). These two don’t head towards Brokeback Mountain territory but the bond is there. And when Melquiades is killed it sends Pete into a spiral of pain revenge and eventual self-discovery. As Pete’s captive Pepper (25th Hour) turns in an amazing performance as the bewildered border patrolman who goes on his own journey towards redemption. And on the sidelines is January Jones (American Wedding) as Mike’s wife and Melissa Leo (21 Grams) as Pete’s sometimes girlfriend who give boredom a whole new outlook and aptly show just how stuck a beautiful woman can be in such a nowhere town. It’s clear Three Burials is indeed very close to Jones’ heart. Shot almost entirely on his sprawling West Texas ranch Jones’ directorial debut was apparently born out of years of deer-hunting trips he took with Three Burials’ screenwriter Guillermo Arriaga (who also wrote the happy little film 21 Grams). “You don’t have to spend much time along the Rio Grande before you realize that [Arriaga’s] country and mine and the same ” Jones told Entertainment Weekly. Jones paints a vivid picture of this land--and the people--he obviously loves dearly while also depicting the racial and political tensions brewing along the border. But it’s Arriaga’s script that deftly changes the film’s pace. It’s a Western a dark comedy a revenge thriller that eventually turns into a Don Quixote journey of sorts--and the whole thing just keeps you glued save for a few extraneous moments here and there. This could be the start of a beautiful collaborative team.
With four days left before his execution notoriously reticent death row inmate David Gale (Kevin Spacey) decides at last to share his story with the press. He chooses as his vessel reporter Bitsey Bloom (Kate Winslet) who's just spent a week in the slammer for refusing to reveal her sources on a kiddie porn cover story. As Gale's story unfolds (and we see it in flashback) Bitsey becomes convinced he's innocent and she and her intern Zack (Gabriel Mann) begin a race against the clock to discover the truth that will save him. Sound like an overblown blurb from a movie studio's press files? Apologies for that but the best way to talk about this story's climactic points is to resort to hyperbolic clichés of this ilk--the movie's key moments are without exception melodramatic and overblown. Nonetheless most of the movie is suspenseful the story has several interesting (I wouldn't go so far as compelling) twists and there are plenty of reasons to root for Gale's cause especially if like him and admittedly like me you're a political liberal who fancies yourself at least somewhat intellectual.
If there's one thing that defines Kevin Spacey's acting style it's his unparalleled ability to discourse at length on philosophical minutiae a gift that undoubtedly contributed to his getting this role in the first place. But Spacey gets to stretch a bit more playing Gale--the professorial character in his pre-death row life was a loose cannon even by academia's standards: he partied with his students talked about fantasy and desire in class and belonged to Death Watch a liberal advocacy group opposed to the death penalty. Beyond that his personal life was a disaster. His wife was having an affair with a Spaniard Gale was a borderline alcoholic and his ego was the size of a generously proportioned watermelon. So there are plenty of challenges for Spacey in the part--both in the flashbacks and the death row sequences--and he obviously embraces them all; unfortunately sometimes he squeezes the life out of them in the process foregoing for example the tragic nuances of real alcoholism for the stumbling sobriquets of an overblown town-drunk philosopher. The equally gifted Laura Linney as Constance--Gale's stalwart friend fellow professor co-director of Death Watch and alleged murder victim--finds herself in less familiar territory. Her character is complex yet remarkably one-dimensional for most of the movie which leaves the talented actress turning--albeit reluctantly--to melodrama for support. Winslet too is on unfamiliar ground with an American accent (quite well done old chap-ette) a mission and a bitchiness that's too little seen from this pristine young girl.
It's truly unfortunate that director Alan Parker didn't keep a tighter handle on The Life of David Gale's more dramatic moments since had they come off better this would have been a more even and generally more watchable film. As it is each of the talented lead actors has a scene in which they really let loose on the hysterical wailing waterworks--Winslet lucky gal has two. They may not be bad enough to make you cringe necessarily but they're obviously overplayed. The film would have benefited from a wail-o-meter that would have allowed the bawling to go so far and only so far. All that aside though this film is ultimately less melodramatic than its equivalent TV movie version would have (and probably has) been--and that leads me to my final point. The Life of David Gale is about what TV pundits would call a hot-button issue and while the public is intelligent enough not to be emotionally swayed by the hue and cry of activists on either side of the argument we can--and by God we will--be entertained by it. So I just want to say thank you Hollywood for once again one-upping the 6 o'clock news and for showing that even discussions of the most important issues of our time can be squeezed into a two-hour movie and manipulated in the interests of suspense and drama.