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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Jason Rodriguez

3:10 to Yuma (2007)

Most cold-blooded killers are, after all, misunderstood.

Ben Wade (Russell Crowe) has been on the run, gun slingin’, robbin’, killin’, and committing all sorts of crimes that have him number one on every person’s bounty list. However, Wade is a pretty ruthless man, to where he can get away from anyone looking to reel him in for justice; it also helps that he’s got the helping hand of his band of fellow thugs, especially his go-to-guy, Charlie (Ben Foster). But eventually, Ben gets caught by the local law and ready for the 3:10 train to take him to Yuma. But in order to get him there, he’ll have to be transported among many lines, where everyone is looking to take Ben down and get a little piece of the reward-money pie. However, Dan Evans (Christian Bale) is just looking to do this so that he can get some money, save his farm, and go home to his family, where he can feel like a responsible man again. As expected though, the trip goes through all sorts of bumps, bruises, and plenty of violence, where one thing leads to another, and it’s never very clear if Ben will ever get on that train and behind bars, like he should.

"Hold it! I'm not Batman here, but other places. Kind of."

“Hold it! I’m not Batman here, but other places. Kind of.”

3:10 to Yuma is the rare kind of Western that not only revitalizes the genre, but also proves why it’s so great in the first place. It doesn’t try to re-invent the wheel of the genre, make up new rules, and play by its own game, but instead, take everything that you know and love from all those other classics, bring them together, and let you have a great time. It’s as if it’s own beast, entirely, even if, yeah, it’s actually a remake, too.

Still, even if 3:10 to Yuma isn’t the most original story out there, it more than makes up for it in all the thrilling, exciting and rather unpredictable action-sequences that take place over its two-hours. James Mangold is a perfect fit for this material, because he knows exactly how to make it all crackle and pop, without ever seeming like he’s out of his depth. Even though Mangold sure does love to jump around from genre to genre, with sheer reckless abandon, it seems like the action-genre may be the one he sticks with, not just because he seems to enjoy it the most, but because he actually seems to know what he’s doing with it, as opposed to those like Michael Bay, or McG.

Why on Earth did I just mention McG’s name?

Anyway, moving on. 3:10 to Yuma more than gets by with its action, but at the heart of it all, and perhaps what makes it more than just another fun and exciting romp through the Old West, is that it’s also the tale of two interesting, challenging, and complex men. Both Christian Bale and Russell Crowe put in great work here, going beyond the silly accents, and showing that there’s more to these two guys. Crowe’s Wade may be a ruthless, toothless (not really, he has quite the set of chompers), and almost sadistic killer, but he’s also got a set of morals and he’s quite the charmer. Whereas, on the other side of the coin, Bale’s Dan is a man with plenty of morals, a simpleton, and family man, but at the same time, won’t hesitate to kill, if he ever has to.

Ben Foster. Up to his usual tricks of not taking a shower to prep for a role.

Ben Foster. Up to his usual tricks of not taking a shower to prep for a role.

Both men are different, yes, but they’re also quite alike in many ways, too, and it’s what makes 3:10 to Yuma quite compelling to watch.

Even when the action is gone for a short while and everyone’s sitting around a fire, eating beans, chewing the fat, it’s still entertaining to watch; the cast is so good, the characters so well-defined, and the script is actually polished. And with Bale and Crowe’s performances, we get to see two men who, despite being on opposites of the social spectrum, still respect the other enough to know where they come from, what their ideals are, and why they are, the way they are in the world. It almost comes close to a bromance, except for the fact that they do try and kill each other every so often, but even then, who knows.

Bromances work in mysterious ways, sometimes.

But anyway, aside from both Crowe and Bale, the ensemble’s a pretty good one. A very young Logan Lerman shows that he can hold his own as Dan’s son; Dallas Roberts plays the sheriff who has to take Wade in with Dan and shows that even the scrawniest of men, with a gun, can still kind of be bad-ass; Peter Fonda shows up and brings some class; Kevin Durand is, as expected, pretty crazy; Luke Wilson has a fun cameo; and Ben Foster, as Wade’s right-hand man, is so crazy, so deranged and so evil, that he almost ends up stealing the show. But still, it’s Bale’s and Crowe’s show to the end and when they’re together, their scenes never stop igniting the spark and make you wish that they’d work together more and more. It doesn’t even have to be in Westerns.

Couldn’t hurt, though.

Consensus: Even if it’s still a Western through and through, 3:10 to Yuma is a tense, exciting and incredibly well-acted piece of entertainment.

8 / 10

Look at 'em. Trying so hard not to make-out and measure sizes.

Look at ’em. Trying so hard not to make-out and measure sizes.

Photos Courtesy of: AV Club, Rotten Tomatoes 

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Pride and Glory (2008)

Keep it in the family. Even corruptness.

After a bunch of his fellow cops are shot dead in what was supposed to be a drug-ring raid, Ray Tierney (Edward Norton) returns to the detective field to figure out just who killed these cops and just exactly how it all happened. And because his daddy (Jon Voight), his brother Francis (Noah Emmerich), and brother-in-law Jimmy (Colin Farrell), are all apart of the force as well, it should make absolute sense that he should have no problems getting the right kind of answers he so desperately seeks. However, what Ray begins to find out, though, is that the details surrounding the killer and what happened are a bit shady. For one, nobody can find the supposed-shooter, and to make matters worse, it turns out that perhaps some brothers in blue may also be a little bit dirty. Which is expected, but there’s a possibility that these dirty cops may have been involved with the killing of the other cops, leading Ray to start questioning all of the cops around him, including his family. Obviously, they’re all appalled and shocked by Ray’s findings and accusations, but at the same time, there’s still some truth to it, and this is when everybody involved starts getting desperate and finding a clean way out of this dirty situation.

"Please tell me! Why did you get those corn-rows?!?"

“Please tell me! Why did you get those corn-rows?!?”

If you’ve seen one cop movie, generally, you’ve seen ’em all. Hardly do they ever stray away from the norm of what we’ve all come to know and expect with a cop movie, which begs the question: Why does Hollywood keep making them? Is there really any huge sell or draw in them that makes people flock out to the theaters to check them out? Or is that Hollywood can’t get over its weird affection and interest in the brothers in blue, so they still continue to make movies about them, not offering anything new or interesting to say about them, either?

Well, whatever the answer may be, Pride and Glory doesn’t really do much to make sense of it.

Although, Pride and Glory is a different kind of cop movie; for one, it’s about dirty cops, being, well, dirty and corrupt as all hell. Given today’s political climate, you’d think that this would be a hot-button topic worthy of being touched upon and prodded at, but director Gavin O’Connor doesn’t really seem interested in diving deep into that discussion. Instead, he just sort of wants to show off his dirty cops as they were; doing stuff they shouldn’t be, pointing the fingers at others, and telling lookie-loos to “mind their own business and shut their mouth”. O’Connor may have some sort of interest in what drives a seemingly normal, everyday cop, to become a drug-dealing, money-stealing baddie, but he doesn’t quite show it.

Most of the time, O’Connor allows his movie to fly-off the rails with fine actors going a tad bit over-the-top. Gifted character actor Frank Grillo is sadly the clearest example of this as his cop character, albeit a dirty one, wants absolutely each and every person in the movie to know it. It’s almost as if any and all subtlety was lost here and O’Connor told Grillo to “just have fun”, and he really did. Problem is, all of the yelling, punching, kicking, and gun-slinging doesn’t do much to help create a character, but further highlight a type that needs to be done with.

But Grillo isn’t the only one who is dialing it way, way up.

Colin Farrell is intense, doing his best De Niro impression here, but once again, his character feels like he has no rhyme or reason for breaking bad. Sure, we get the idea that maybe greed took over and he couldn’t stop himself, but we can only assume that because we never see this character actually be a good cop – we just see him as this dirty one, who can’t be trusted with anything. There’s an unpredictable nature to Farrell that he brings onto the screen each and every chance he gets, but mostly, it just ends with him yelling or acting out in some way.

Just imagine Micky Donovan, as a cop.

Just imagine Micky Donovan, as a cop.

I mean, hell, the guy almost hot irons a baby! What the hell!

Edward Norton, thankfully, dials it down a bit more and seems to actually be more interested in diving dig into his character’s psyche. Issue is, this tends to make his character feel a bit more boring and dry than he probably should, which is an even bigger shame because he’s the lead protagonist we’re supposed to stand behind, root for and spend all of our time with. Norton has solid scenes with just about everyone around him, but when it comes to pushing the story-line along, there’s a never ending sense of normality that overtakes Norton, as well as the movie and it’s hard to get away from.

By the end though, O’Connor decides to stop sitting around and let everything and everyone, within Pride and Glory, run wild.

This means that guns are shot, people are beaten-up, noses are bloodied, faces are battered, people start shouting, and out of nowhere, which was, at one point, a slow, almost meandering drama, is now this wild-and-out, action-thriller where people can’t stop beating the hell out of one another. Is it exciting to watch? Sure. Does it feel like a whole completely different movie? Oh, most definitely and it’s an issue that seems to make Pride and Glory, yet again, just another cop movie.

Although still plenty more watchable than season two of True Detective.

That’s for sure.

 

Consensus: Despite a solid cast, Pride and Glory is drenched into too many cop movie cliches and conventions to really do much, other than just mildly entertain those looking for some entertainment.

6 / 10

"We're brudders. We ain't eva gain to brake apaart."

“We’re brudders. We ain’t eva gain to brake apaart.”

Photos Courtesy of: Aceshowbiz