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.
David Callaway (Robert De Niro) is having a tough time dealing with the apparent suicide of his wife (Amy Irving). His young daughter Emily (Dakota Fanning) also has taken her mother's death very hard retreating into her own little world. As a psychologist David decides the only way to help Emily is to move from the big city to a house in the country. Sure that kind of thing usually works like a charm. Emily does perk up a bit when she finds a new "friend " Charlie who likes to have fun and play hide and seek with her. Of course we can't actually see this new friend but that's beside the point. The imaginary Charlie is still a powerful force in Emily's life instructing her not to talk about him much and hating pretty much everyone else in her life including her dad. In short order bad things start happening--yes the family pet gets whacked--which Emily blames on Charlie. This leaves David wondering how his little girl could have turned so psychotic. But wait. Maybe Charlie isn't imaginary after all but actually a flesh-and-blood malevolent presence. Oh god do you think so?
Why you may ask would an acting icon like Robert De Niro star of such classic movies as Raging Bull and Goodfellas choose such a cheesy film as Hide and Seek? Very good question. Maybe he was drawn into the project based on the premise like the rest of us without realizing how derivative the story would get as things progressed. Of course De Niro plays the confused father--dealing with what could possibly be a demonic child--with a fair amount of finesse. But he's a pro that's what he does. Fanning (I Am Sam) too does the best she can as the sunken-eyed pasty-faced Emily. She sulks around rarely smiles and draws scary pictures of people dying horrible deaths which has now become a prerequisite for any child in a scary movie. In the supporting roles Elisabeth Shue Famke Janssen and Dylan Baker are all pretty much wasted. Shue who hasn't acted in anything major since 2000's Hollow Man makes a brief appearance as a potential paramour for David. Janssen (X-Men) playing David's colleague and Emily's confidante thinks living in isolation is a bad idea (and she's right!). Veteran character actor Baker (Kinsey) takes on the predictable role of the hapless town sheriff who never quite gets he's about to be in a world of hurt.
It is always disappointing when the promise of something potentially creepy turns out to possess the same old tired plot points and scare tactics seen countless times before. Director John Polson--best known for helming Swimfan another predictable stalker-gone-mad thriller--and novice screenwriter Ari Schlossberg don't have the necessary skills to take Hide and Seek above and beyond its conventional trappings. To its small credit the film does build a bit of tension in the beginning as David and Emily skirt around each other trying to grasp onto some kind of normalcy. Then when Emily introduces Charlie you continue to hold out hope that somehow the filmmakers will channel some of M. Night Shyamalan's aura and start really scaring the bejesus out of you. But alas it isn't meant to be. Instead you're sitting there pretty much guessing every move the film is going to make before it happens. When the twist finally comes around--you knew there was a twist right?--it doesn't really surprise you whether you've guess it or not.
Plenty of worries mate. A third helping of this croc-out-of-the-Outback series is one too many. The difference between the delightful original and this plodding trek through Los Angeles is almost negligible. Once again crocodile hunter Mick (Paul Hogan) puts his survival skills to the test while roaming the wilds of a major metropolis. The Big Apple jaunt resulted in Mick falling in love with journalist Sue (Linda Kozlowski). In Los Angeles Mick grapples with making Sue an honest woman thanks to the prodding of their young son Mikey (Serge Cockburn). La La Land provides enough distractions to prevent Mick from popping the question. Lavish parties. Acting gigs. Monkey wrangling. And the strange business practices of Silvergate Pictures. Sue returns to the United States to temporarily oversee her newspaper magnate father's Los Angeles bureau. Her first assignment: expose Silvergate and its likely criminal activities. But who needs a Pulitzer Prize-winning investigative journalist with N.Y.P.D Blue junkie Mick Dundee on the case.
Crocodile Dundee in Los Angeles lacks bite but Mick remains the life and soul of the hunt. The leatheryHogan - now 61 but leaner and fitter than a certain real-life crocodile hunter half his age - is so affable fascinating and boyish that it's a pleasure to share his company. He's the same old Mick Dundee that audiences laughed at but mostly laughed with in the late 1980s. Hogan hints--though not very seriously--at the end of this adventure that it's time to call it quits. If so he would be wise to pass his croc-skinned vest and hunting knife on to Cockburn. He's a chip off the old block. Whether he's rescuing skunks or trapping rodents Cockburn manages to charm without being self-consciously cute or deliberately bratty. Too bad Kozlowski--Hogan's wife--has nothing better to do than lovingly raise her eyebrows at Mick's occasional blunders or pass herself off as a journalist.
Simon Wincer last worked with Hogan on 1994's Lightning Jack a not-so-wild Western that floundered in its bid to put any distance between Hogan and his Crocodile Dundee persona. In Wincer's hands Mick Dundee's latest urban jungle safari lacks any genuine surprises. Is Mick the only tourist to find himself confronted by a mugger each time he steps off the plane? In Australia Mick may call the Outback his workplace but he does seem to enjoy some modern amenities. So it's become something of a stretch to imagine that Mick doesn't watch TV and can't take a bath without fearing a crocodile attack. Much of the blame rests with the bland and trite cultural differences that writers Matthew Berry and Eric Abrams compel Mick to face continually. (Hogan contends that he deserves credit for writing the script but unless he needs the extra cash he should back down--it's nothing to be proud of.)