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Movie Reviews From A Family Perspective
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3:10 to Yuma
You,
Me and Dupree
Russell
Crowe, Christian Bale, Ben Foster, Gretchen Mol, Peter Fonda. Lionsgate.
Western. Written & directed by Cathy Konrad and James Mangold.
9/7/07
FILM SYNOPSIS: In this modern take on the classic western by Elmore Leonard, the setting is 1800’s Arizona, where infamous outlaw Ben Wade (Crowe) and his vicious gang of thieves and murderers have plagued the Southern Railroad. When Wade is captured, Civil War veteran Dan Evans (Christian Bale), struggling to survive on his drought-plagued ranch, volunteers to deliver him alive to the 3:10 train to Yuma where the killer will face trial. On the trail, Evans and Wade, each from very different worlds, begin to earn each other’s respect. But with Wade’s outfit on their trail the mission soon becomes a violent journey.
REVIEW: Here’s something I’d like to convey to Hollywood concerning the western: the main supporters of that genre are traditionalists and they keep hoping you guys will go back to the style and values once found in the works of John Ford. Over the past few decades, the makers of movies have attempted to either put a spin on those values or, worse yet, attempt to make them more “realistic.” Even the few that have met with critical and box office success (Open Range, Unforgiven) did little to inspire a rebirth of the legend of the West. Too much profanity and too much profundity have replaced the simplicity of structure and character.
Now, listen Tinseltown, we are living in a time when it is obvious that moviegoers are looking for the familiar (most films this year are sequels or salutes to the familiar). Think: A return to the once traditional view of the Old West might generate a return of popcorn buyers now shy of that genre thanks to Brokeback Mountain.
I’ll back this theory up with an example. John Wayne is still voted in poll after poll as one of the most popular movie stars ever. His films constantly run on most cable movie stations and the DVDs of nearly all his 200 films continue to be money makers. True, there will never be another John Wayne, but besides his persona, people supported his films because of the principles he honored with his roles.
Okay, I won’t go further, because even if they should read it, the Hollywood Elite wouldn’t pay attention. Rather than delete my rant, I’ll pass it on to you to further explain my disappointment with the latest rendering of the Old West. But before I go into the negatives, I’ll state my enjoyment with several elements of 3:10 to Yuma.
First, good performances by all. A good actor takes your mind off a film’s deficiencies. Both Russell Crowe and Christian Bale are able to direct your attention off this film’s faults with their fleshed-out characterizations. Second, there’s lots of action, lots of well-choreographed shootouts that highlight the drama. And besides all the engaging gunplay, the film attempts to add suspense and psychological drama.
Alas, it doesn’t come close to the original in its effectiveness. Oh, you didn’t know it was made before? Come on, other than Waitress, Hollywood hasn’t made anything new all summer; just familiar. In the 1957 version, directed by Delmer Daves (Broken Arrow, Dark Passage), Van Heflin played the struggling farmer and Glenn Ford the murderous outlaw. It was a bit more wordy than the remake, but it was also more captivating with its High Noon-like western clichés and Mr. Daves’ intense and tautly structured direction.
Both films reveal complexity of character, with men tested to the limit and both discovering their true character, but in this newer one, directors Cathy Konrad and James Mangold seem more in tune with the spaghetti western than the works of American filmmakers such as Hathaway, Hawks or Ford. The opening scene is off-putting with its copycatting of Ennio Morricone’s use of music and Sergio Leoni-like overbearing visual style, punctuated by today’s jittery close-ups and excessively violent structure.
The westerns of long ago were films the entire family could attend. Though injustice reared its ugly head, the valiant sought and brought about retribution. While that quality is in this updated version, so is the gruff and gritty R-rated content that has become commonplace. Exploitive sexuality, the profane use of God’s name and the superfluous use of violence that includes a man being burned alive while trapped in a cage and another being stabbed to death in the throat with a dinner fork (a gruesome use of sound effects) are incorporated. Do the filmmakers think this is necessary to satisfy today’s audiences? Is it?
R (around 10 obscenities, ten profanes uses of God’s and Christ’s names and several minor expletives; we expect violence in a western, but here some of it becomes gruesome, such as a man being burned alive while the villains ignore him; another man dies from being stabbed in the neck, many others meet with brutal treatment and murder; some blood as several men are wounded in gun battles; one sexual situation – mostly implied; some drinking, mostly by the villains; the bad guy quotes scripture – evidently it didn’t take; we learn he read the Bible as a child, but was abandoned by his parents and turned to villainy).
DVD Alternative: Ride The High Country. This nearly flawless film depicts the ending of a way of life for two westerners, one a lawman, the other his outlaw friend. Joel McCrea, Randolph Scott. Directed by Sam Peckinpah before his films became filled with extremely violent images.
Run Time: 2 Hours
Intended Audience: Adults.
Owen Wilson, Kate Hudson, Matt Dillon, Seth Rogen, Amanda Detmer and Michael Douglas. Written by Michael LeSieur. Directed by Joe Russo and Anthony Russo
Newlyweds Carl and Molly Peterson (Matt Dillon and Kate Hudson) are starting their new life together. All that impedes their blissful union is Carl’s maturity-impaired slacker friend Randy Dupree (Owen Wilson). Suddenly without job or home, Dupree is invited to stay for a few days. Soon, however, it becomes apparent that Dupree is going to overstay his welcome.
As Carl becomes buried in his job, Dupree uses his ample spare time to become a great companion for Molly. Even her dad (Michael Douglas) and the neighbors are falling for his carefree wisdom and charm, which frustrates Carl no end.
Every time a reviewer worth his weight enters a theater, he’s filled with the promise of what movies can be. And the Christian critic hopes against the odds that a humanist moviemaker will include a biblical principal that overshadows content meant for our baser instincts. Sad to say, all that hope of promise was wasted on You, Me and Dupree.
I can’t decide which was more disappointing: the performances, the stupidity and crudeness of the script, or the film’s overall insincerity. True, no one sets out to make a bad movie, but evidently there are a great many people in Hollywoodland more concerned with how they look than their script choices. Case in point: Kate Hudson. Here we see Goldie’s daughter in her underwear and later in an itsy bitsy bikini. But here’s the realization of that award-worthy little shape. Kate has to be spending a great deal of time in the gym. And no doubt, she employs a dietician who determines exactly what goes into that award-worthy little shape. I just wish she would apply as much effort when selecting film roles. Then again, maybe You, Me and Dupree was the best she was offered. That’s a depressing thought.
Everyone involved is capable of better work and has proved it, but their attempts here are routine, resulting in performances that are not very funny and certainly not touching. The script is not just silly, which we accept in screen comedies, but annoying as well. And these characters are dumber than a bagful of hammers.
Though the concept was bright, the dim script, is riddled with crudity and a lead performance more exasperating than Beetlejuice. There’s no heart, no genuineness. Its drama, like the humor, is forced, sappy and disingenuous. The result – a flat, mediocre and stunningly disappointing spectacle the leads should leave off their resume.
PG-13 (there are several crude sexual comments and situations; 10 obscenities, 4 profane uses of God’s name and one of Jesus’ name; some slapstick humor is derived from a man on a bike hit by a car and a man hits another with a formidable candlestick; a few sexual situations, including a semi-graphic masturbation scene, and the discovery of a stash of porn; bare backside of Dupree as he sleeps. Kate is seen in skimpy attire in several scenes; one obscene gesture; lots of drinking throughout; each time the two leads get frustrated, they wind up drinking to excess).
© 2008 Good News Tucson™