Here is an undeniable truth of movie reviewers: When you really want to promote a movie that's not that good, talk about the great performances of the actors. Then you can praise the movie to high heaven, feel you have done your penance, and content yourself with the ingenuity of your expansive insights. This is the case with 3:10 to Yuma.
So, what's wrong with this movie? Well, let's just look at the last 20 or so minutes of the film:
1. Apparently the bartender/hotel clerk in Contention, AZ, whom we've not been introduced to until this point in the movie, is in cahoots with the bad guys because he make a point of surreptitiously and eagerly directing the bad guys to the location of the incarcerated Mr. Crowe. Why does he do this? Who knows. The filmmaker never lets us in on the secret.
2. Apparently the Neanderthal menfolk of Contention, AZ, are a simple-minded lot who, at the thought of earning $200.00 by murdering the the folks holding murderous Russell Crowe in custody, just can't wait to start throwing lead. "Mabel, Whar's mah raffle? Ahm gonna keel me sum law-men an geet myselves $200.00 dollah cash on that thar barrelhead!"
3. Apparently no one in Contention has a problem with watching their unarmed police force viciously gunned down in broad daylight. After this atrocity, folks continue to wander the streets, go in and out of stores, and continue their daily lives as though nothing has happened. Except for, of course, the menfolk who are hiding in wait for a chance to earn that $200.00.
4. Apparently no one bothers to theorize that when you are firing dozens of rounds of ammunition at two men who are as close together as they can be without being Siamese twins you just might hit the guy you're trying to rescue.
5. Apparently, when Russell Crowe's psychotic gunslinging hero-worshiping gang member finally realizes the implications of the above, he figures he better start shootin' them menfolk he'd promised that thar munny to. Of course, none of the surviving menfolk think to start shooting at him.
6. Apparently--well, you get the idea. In other words, this excuse for movie-making is, quite frankly, stupid! In order to take this seriously, you must convince yourself that the type of behavior exhibited by many of the characters in this film is the way people really act. Whether it be the above examples, or Peter Fonda being shot in the stomach, at close range, having the bullet removed, and then immediately riding out into the desert on horseback as though nothing had ever happened to him, much of this film is just plain ludicrous! By the way, I'm no gun expert, but I do know this: If you are shot in the stomach at close range you ain't gonna be going' nowhere and you certainly ain't gonna be trottin' around on a horse!
The bigger problem with this movie is its message, which is this: People who do the right thing because it's the right thing to do are fools. Good people don't thrive. As Christian Bale says, "I've been asking God to help me for three years and he hasn't done it yet." For those who would attempt to live a righteous, honorable life there is nothing but despair and hopelessness. In fact, at the end of the movie the true hero of the piece is the psychopathic, vicious, murdering Russell Crowe character. And, by the way, this film does NOT retain the ending of the original, so if you were hoping it would, forget about that.
If you see this film, you might recognize material from other Westerns. You have an iron clad stagecoach, reminiscent of John Wayne's "War Wagon," quotes from the Bible, reminiscent of Randolph Scott in "Ride the High Country," the psychological bantering between the Crowe and Christian Bale characters, reminiscent of not only "Ride the High Country" but also of "The Tall T", an Elmore Leonard story with Randolph Scott and Richard Boone, and Christian Bales's cursing teenage son, reminiscent of Ron Howard in John Wayne's "The Shootist."
Your better bets: All of the other movies I named above plus the original with Glen Ford and Van Heflin.
So, what's wrong with this movie? Well, let's just look at the last 20 or so minutes of the film:
1. Apparently the bartender/hotel clerk in Contention, AZ, whom we've not been introduced to until this point in the movie, is in cahoots with the bad guys because he make a point of surreptitiously and eagerly directing the bad guys to the location of the incarcerated Mr. Crowe. Why does he do this? Who knows. The filmmaker never lets us in on the secret.
2. Apparently the Neanderthal menfolk of Contention, AZ, are a simple-minded lot who, at the thought of earning $200.00 by murdering the the folks holding murderous Russell Crowe in custody, just can't wait to start throwing lead. "Mabel, Whar's mah raffle? Ahm gonna keel me sum law-men an geet myselves $200.00 dollah cash on that thar barrelhead!"
3. Apparently no one in Contention has a problem with watching their unarmed police force viciously gunned down in broad daylight. After this atrocity, folks continue to wander the streets, go in and out of stores, and continue their daily lives as though nothing has happened. Except for, of course, the menfolk who are hiding in wait for a chance to earn that $200.00.
4. Apparently no one bothers to theorize that when you are firing dozens of rounds of ammunition at two men who are as close together as they can be without being Siamese twins you just might hit the guy you're trying to rescue.
5. Apparently, when Russell Crowe's psychotic gunslinging hero-worshiping gang member finally realizes the implications of the above, he figures he better start shootin' them menfolk he'd promised that thar munny to. Of course, none of the surviving menfolk think to start shooting at him.
6. Apparently--well, you get the idea. In other words, this excuse for movie-making is, quite frankly, stupid! In order to take this seriously, you must convince yourself that the type of behavior exhibited by many of the characters in this film is the way people really act. Whether it be the above examples, or Peter Fonda being shot in the stomach, at close range, having the bullet removed, and then immediately riding out into the desert on horseback as though nothing had ever happened to him, much of this film is just plain ludicrous! By the way, I'm no gun expert, but I do know this: If you are shot in the stomach at close range you ain't gonna be going' nowhere and you certainly ain't gonna be trottin' around on a horse!
The bigger problem with this movie is its message, which is this: People who do the right thing because it's the right thing to do are fools. Good people don't thrive. As Christian Bale says, "I've been asking God to help me for three years and he hasn't done it yet." For those who would attempt to live a righteous, honorable life there is nothing but despair and hopelessness. In fact, at the end of the movie the true hero of the piece is the psychopathic, vicious, murdering Russell Crowe character. And, by the way, this film does NOT retain the ending of the original, so if you were hoping it would, forget about that.
If you see this film, you might recognize material from other Westerns. You have an iron clad stagecoach, reminiscent of John Wayne's "War Wagon," quotes from the Bible, reminiscent of Randolph Scott in "Ride the High Country," the psychological bantering between the Crowe and Christian Bale characters, reminiscent of not only "Ride the High Country" but also of "The Tall T", an Elmore Leonard story with Randolph Scott and Richard Boone, and Christian Bales's cursing teenage son, reminiscent of Ron Howard in John Wayne's "The Shootist."
Your better bets: All of the other movies I named above plus the original with Glen Ford and Van Heflin.