Review: Ben Affleck Miscast as a Superhero in "Daredevil"

TRASH IN MY EYE No. 18 (of 2003) by Leroy Douresseaux

Daredevil (2003)
Running time:  103 minutes (1 hour, 43 minutes)
MPAA – PG-13 for action/violence and some sensuality
WRITER/DIRECTOR:  Mark Steven Johnson
PRODUCERS:  Avi Arad, Gary Foster, and Arnon Milchan
CINEMATOGRAPHER:  Ericson Core
EDITORS:  Armen Minasian and Dennis Virkler
COMPOSER:  Graeme Revell

SUPERHERO/ACTION/CRIME

Starring:  Ben Affleck, Jennifer Garner, Colin Farrell, Michael Clarke Duncan, Jon Favreau, Joe Pantoliano, Erick Avari, Scott Terra and David Keith

The subject of this movie review is Daredevil, a 2003 superhero film starring Ben Affleck in the title role.  The movie is based on the Marvel Comics character, Daredevil, created by Stan Lee and artist Bill Everett.

The movie’s plot also borrows heavily from elements Frank Miller introduced during his stint as writer-artist on Marvel Comics’ Daredevil comic book series and on several other Daredevil publications.  Stan Lee is one of this film’s executive producers.  Oscar-winning screenwriter Brian Helgeland apparently contributed to the screenplay, but did not receive a screen credit.

Before I get into the heart of the review, I want to start off by saying that Daredevil really ain’t nothing special, and that makes this pretty run of the mill, except for the subject matter.  If you just have to see it (and I can only imagine that comic book fans feel this way as the character originates from a long running Marvel comic of the same title), see it in a movie theatre; otherwise, it may not be worth the time, money, and effort of going to the movies.

Another note before getting into the review:  although he doesn’t get credit, renowned comic book writer/artist and cartoonist Frank Miller just might be the major contributor to this film.  Miller, wrote and drew, the comic book, Daredevil, for Marvel Comics from the late 1970’s to the early 80’s and again wrote the title in the late 80’s with sometime New Yorker cartoonist, David Mazzuchelli, as the comic’s illustrator.  Miller created the character Elektra Natchios (played in this film by Jennifer Garner of TV’s “Alias”), but he did not create all the characters used in this film.

However, the stylistic approach used for the characters comes almost exclusively from Frank’s work.  This movie wouldn’t exist without Frank’s legendary accomplishments; Frank’s Daredevil stories are available in book form as Daredevil Visionaries:  Frank Miller Vol.’s 1-3 and Daredevil: Born Again.  In fact, the 1989 film version of Batman owes very much to Frank’s work on the character in Batman: The Dark Knight Returns, which is always in print.  Miller is also a screenwriter, having penned Robocop 2 and Robocop 3, and his original script (presumably the for second Robocop) will be adapted into a comic book by Avatar Comics.  Now, to the review.

Attorney Matt Murdock (Ben Affleck) was blinded as a child by a chemical that, though it robbed him of his sight, heightened his four remaining senses.  His hearing developed a kind of radar sense that allows him to “see” objects through the sound waves that bounce of those objects.  In the movie, we see the radar sense in operation as a rather cool looking visual effect.  After the accident that blinded him, young Murdock (Scott Terra) trains his body to be as superior as his heightened senses.  After criminals murder his father Jack (David Keith), young Matt grows up to be the costumed crime fighter, Daredevil, prowling the night in a tight, red leather uniform and pounding criminals into dust, literally.  Daredevil don’t play that; he’ll dispense justice to the extreme even if it means that a criminal might lose his life.

Matt meets Elektra, who is an ass kicking, martial arts hottie, and they have a brief romance, but when a crazed assassin named Bullseye (Colin Farrell) kills her father (Erick Avari, The Mummy), Elektra seeks revenge.  In her haste for revenge, she doesn’t realize how complicated matters are and that hanging over all their heads is master manipulator and super crime boss, Wilson Fisk - The Kingpin (Michael Clarke Duncan).

Daredevil is much darker than many super hero movies, almost as dark as Batman Returns, but the former does share the latter’s leather fetishistic theme.  There are lots of really good fight scenes mixing martial arts, boxing, and gymnastics.  Like Spider-Man, Daredevil uses quite a bit of CGI (computer generated imagery) to create human-like figures that can rapidly bounce off walls and scale ceilings while fighting.  In fact, in addition to the “bullet time” technique used so famously in The Matrix, CGI is the only other way live action film can mimic the impossible acrobatics of comic book fight scenes.  Daredevil’s fight scenes are exciting and even thrilling, but many times the CGI is so obviously fake, particularly in the jerky manner in which the CGI figures move.

The story has its moments.  Some of the romantic elements are genuinely sad and sentimental, and some of the drama is palatable.  However, like Spider-Man, the best stuff is during the fights are when Daredevil soars over the CGI New York skyline.

Director Mark Steven Johnson’s love for the material is evident.  He really tried to capture the feel of the comic book in his film.  However, some of the film is awkward, forced and clunky.  The movie drags, and sometimes it races headlong through the story without any substantial development.  There are too many characters, some who, if given more screen time, would have made a better movie.  Jon Favreau, as Matt’s law partner Foggy Nelson, is simply delightful, but Johnson uses him strictly for comic relief.  Farrell strains and overacts as Bullseye; by the time, Johnson reigns Farrell in enough to make Bullseye a good villain, the movie’s almost over.

Suffice to say, Daredevil is an average movie going experience, and might serve as a decent video rental.  It’s special only to comic book fans; most everyone else will find this to be just another movie, unless you’re into the strange and the unusual.  There is a really funk vibe going on with all those leather suits and the rest of the characters’ impressive wardrobe that’s worth experiencing on the big screen.

4 of 10
C

NOTES:
2004 Razzie Awards:  1 win: “Worst Actor” (Ben Affleck; also for Gigli-2003 and Paycheck-2003)

2010 Razzie Awards:  1 nomination: “Worst Actor of the Decade” (Ben Affleck; also for Gigli-2003, Jersey Girl-2004, Paycheck-2003, Pearl Harbor-2001, and Surviving Christmas-2004; Affleck nominated for 9 ‘achievements,” and “winner” of 2 Razzies)

Updated:  Friday, August 23, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

Review: "Elektra," Well, It's Better Than "Catwoman"

TRASH IN MY EYE No. 10 (of 2005) by Leroy Douresseaux

Elektra (2005)
Running time:  97 minutes (1 hour, 37 minutes)
MPAA – PG-13 for action violence
DIRECTOR:  Rob Bowman
WRITERS:  Raven Metzner, Stu Zicherman, and Zak Penn; from a story by Zak Penn (based on movie characters created by Mark Steven Johnson and comic book characters created by Frank Miller)
PRODUCERS:  Avi Arad, Gary Foster, and Mark Steven Johnson
CINEMATOGRAPHER:  Bill Roe
EDITOR:  Kevin Stitt
COMPOSER:  Christophe Beck

SUPERHERO/ACTION/THRILLER

Starring:  Jennifer Garner, Goran Visnjic, Kirsten Prout, Will Yun Lee, Cary-Hiroyuki Tagawa, Terence Stamp, Natassia Malthe, Bob Sapp, and Colin Cunningham with Jason Isaacs

The subject of this movie review is Elektra, a 2005 superhero film starring Jennifer Garner in the title role.  The film is based on the Marvel Comics’ character, Elektra, created by Frank Miller.  Elektra is a spin-off of the 2003 superhero movie, Daredevil, and Stan Lee, co-creator of the Daredevil character, is an executive producer on this movie, as well.  The new movie focuses on Elektra as she tries to protect a single father and his young daughter after being hired to kill them.

After dying in the 2003 film Daredevil, Elektra Natchios (Jennifer Garner) is alive and kicking in her own comic book based film, Elektra.  Elektra ain’t by no means great, but it’s far better than the lumbering, big budget blunder that was Daredevil.  And while Elektra isn’t worth a trip to the theatre for most moviegoers other than comic book fans and admirers of Ms. Garner’s figure, it’s worth a view of DVD.

The sai (a martial arts weapon) enthusiast Elektra is now an assassin for hire, and The Hand, the order of dark ninjas who trained Elektra and revived her from death, have hired her to kill Mark Miller (Goran Visnjic) and his daughter Abby (Kirsten Prout).  Abby is the “current generation’s” treasure, a gifted martial artist who can change the balance between good and evil.  Elektra is drawn to Abby and refuses to killer her, choosing to protect her and her father from The Hand.  Elektra’s refusal of The Hand’s contract and her subsequent interference sets The Hand’s master assassin, Kirigi (Will Yun Lee), and his quartet of dark super ninja after the trio.  Elektra seeks help from her first teacher, the blind sensei Stick (Terence Stamp), in hopes that he will take Abby and Mark off her hands.  Stick, however, has other plans, and forces Elektra to defend the girl and discover her own better nature, including dealing with her mother’s death and Kirigi’s part in it.

Elektra is a mildly entertaining action, superhero fantasy film with some nice fight sequences.  But even those action scenes ultimately seem forced and overdone; maybe it’s because only the fight scenes can save what is otherwise an exceedingly dry faux drama.  The acting is poor.  Terence Stamp is woefully miscast as Stick, and Goran Visnjic barely seems alive as Mark Miller.  Kirsten Prout’s Abby only elicits sympathy when the script places her in extreme danger.

A star on the hit television series, “Alias,” Jennifer Garner’s film career is mostly miss, except for a nice turn in 13 Going on 30.  There are moments in this movie when she assumes a pose as Elektra and looks like a clumsy, wall-eyed poseur.  Ms. Garner even walks as if she just learned that she has a nice ass, but still hasn’t quite got the rhythm using it in a provocative walk down pat.

Still, this film has some nice moments, and the fight scenes (which feature lots of wire-fu) are pretty good for an American film production.  To bad one of the (over extended) fight scenes uses CGI bed sheets as an obstacle for the hero.  It makes you wonder what the filmmakers were thinking.  It’s the eye-rolling stuff like this that ultimately hamstrings Elektra.

5 of 10
C+

Updated:  Friday, August 23, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

Ben Affleck is Batman in 2015 "Superman-Batman" Team-up Movie

Ben Affleck Revealed as Batman in Warner Bros. Pictures’ New Super Hero Feature Film, Now Slated to Open July 17, 2015

The Oscar®-winning star joins Henry Cavill in the first ever onscreen match-up of DC Comics’ most iconic characters.

BURBANK, Calif.--(BUSINESS WIRE)--Ending weeks of speculation, Ben Affleck has been set to star as Batman, a.k.a. Bruce Wayne. Affleck and filmmaker Zack Snyder will create an entirely new incarnation of the character in Snyder’s as-yet-untitled project—bringing Batman and Superman together for the first time on the big screen and continuing the director’s vision of their universe, which he established in “Man of Steel.” The announcement was made today by Greg Silverman, President, Creative Development and Worldwide Production, and Sue Kroll, President, Worldwide Marketing and International Distribution, Warner Bros. Pictures.

The studio has slated the film to open worldwide on July 17, 2015.

Last month’s surprise announcement of the new movie featuring both Superman and Batman created a wave of excitement and immediately fueled discussion and debate—among fans as well as in the media—about who would put on the cape and cowl of Bruce Wayne’s alter ego.

Snyder successfully re-imagined the origin of Clark Kent/Superman in the worldwide blockbuster “Man of Steel,” which has earned more than $650 million worldwide to date, and climbing. The director will now create an original vision of Batman and his world for the film that brings the two DC Comics icons together.

Affleck will star opposite Henry Cavill, who will reprise the role of Superman/Clark Kent. The film will also reunite “Man of Steel” stars Amy Adams, Laurence Fishburne and Diane Lane.

In the announcement, Silverman stated, “We knew we needed an extraordinary actor to take on one of DC Comics’ most enduringly popular Super Heroes, and Ben Affleck certainly fits that bill, and then some. His outstanding career is a testament to his talent and we know he and Zack will bring new dimension to the duality of this character.”

Snyder also expressed his excitement about the casting of Affleck, noting, “Ben provides an interesting counter-balance to Henry’s Superman. He has the acting chops to create a layered portrayal of a man who is older and wiser than Clark Kent and bears the scars of a seasoned crime fighter, but retain the charm that the world sees in billionaire Bruce Wayne. I can’t wait to work with him.”

Kroll added, “We are so thrilled that Ben is continuing Warner Bros.’ remarkable legacy with the character of Batman. He is a tremendously gifted actor who will make this role his own in this already much-anticipated pairing of these two beloved heroes.”

Affleck recently starred in the Academy Award®-winning Best Picture “Argo,” which he also directed and produced, earning acclaim and a BAFTA Award nomination for his performance in the film, as well as a number of directing honors. In 2010, he starred in and directed the hit crime thriller “The Town.” His recent acting work also includes “The Company Men,” “State of Play,” and “Hollywoodland,” for which he received a Golden Globe nomination for Best Actor. Earlier in his career, Affleck starred in and co-wrote (with Matt Damon) “Good Will Hunting,” for which he won an Oscar® for Best Original Screenplay.

The new Super Hero film is being scripted by David S. Goyer from a story he co-created with Zack Snyder. Charles Roven and Deborah Snyder are producing, with Benjamin Melniker, Michael E. Uslan and Wesley Coller serving as executive producers.

Production is expected to begin in 2014.

The film is based on Superman characters created by Jerry Siegel & Joe Shuster, and Batman characters created by Bob Kane, published by DC Entertainment.

Review: Welcome "The Strangers" into Your Imagination

TRASH IN MY EYE No. 58 (of 2013) by Leroy Douresseaux

The Strangers (2008)
Running time:  85 minutes (1 hour, 25 minutes)
MPAA – R for violence/terror and language
WRITER/DIRECTOR:  Bryan Bertino
PRODUCERS:  Doug Davison, Nathan Kahane, and Roy Lee
CINEMATOGRAPHER:  Peter Sova (D.o.P.)
EDITOR:  Kevin Greutert
COMPOSERS:  tomandandy

HORROR/THRILLER

Starring:  Liv Tyler, Scott Speedman, Gemma Ward, Kip Weeks, Laura Margolis, Glenn Howerton, Alex Fisher, and Peter Clayton-Luce

The subject of this movie review is The Strangers, a 2008 horror film from writer-director, Bryan Bertino.  The film stars Liv Tyler and Scott Speedman as a young couple staying in an isolated vacation home, where they are terrorized by three unknown assailants.

The film follows Kristen McKay (Liv Tyler) and James Hoyt (Scott Speedman), who are returning from a friend’s wedding reception.  They decide to stay in a remote summer vacation home owned by James’ parents.  Instead of feeling joy, their minds are on a new complication in their relationship.  Shortly after arriving, someone shows up at the door asking, “Is Tamara here?”  Not long afterwards, Kristen and James find themselves confronting a masked trio that begins to taunt and torment them in a series of acts that grow increasingly cruel.

The Strangers is not only a horror movie, but also a mystery thriller, a suspense movie, and a crime film.  It especially recalls the scary movies of the 1970s.  Because “the strangers” (or intruders) stalk Kristen and because they use masks to hide their identities, this film often seems like a slasher movie.  It particularly bears a resemblance in tone and execution to John Carpenter’s 1978 slasher classic, Halloween.

This heady mix of mystery, thrills, and suspense entitled The Strangers maintains an effective atmosphere of creepy dread and spine-tingling anticipation.  Writer-director Bryan Bertino smartly uses sound and the interplay of artificial light and naturally-occurring darkness to enforce in the movie’s audience that something dangerous is there, unseen, but definitely there.  The Strangers has visual and thematic cues that evoke earlier movies about home invasion or with scenes depicting a home invasion, such as A Clockwork Orange, The Last House on the Left (1972), and Panic Room.

It is the suspense and terror, not the bloodshed and gore, which makes The Strangers such a good film.  The fear seems so real that it is surreal, and the movie has a dream-like quality, as if we were watching something on the edge of our consciousness, about to intrude on us as we doze off.  Ultimately, The Strangers is just fun to watch.  It is a reminder that the horror genre still has the capacity to seem fresh and new, regardless of production budgets. Even without computer-generated images and effects, horror can offer something delightfully surprising that can engage our imaginations or even blow our minds.  The Strangers is the new thing not afraid to use the old tricks that are timeless in their effectiveness to scare us.

8 of 10
A

Thursday, August 22, 2013

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

“Get Shorty” Author, Elmore Leonard, Dies at 87

by Leroy Douresseaux

American crime writer Elmore Leonard died Tuesday, August 20, 2013 at the age of 87.  Known as “the Dickens of Detroit,” Leonard was the bestselling author of 45 novels and numerous short stories.  Leonard’s pared-down writing style featured snappy dialogue and black humor.  Many of his novels were turned into films.

The 1990 novel, Get Shorty, was turned into the 1995 film starring John Travolta, and the 1992 novel, Rum Punch, became Quentin Tarantino’s 1997 film, Jackie Brown.  Leonards’s short story, “Three-Ten to Yuma,” became the classic Western film, 3:10 to Yuma, in 1957, which was remade in 2007.  Leonard’s fiction was also the basis for a few television series, including the FX cable series, “Justified,” which is based on two novels, Pronto (1993) and Riding the Rap (1995), and a short story.

I read only two of Leonard’s novels, Get Shorty and Rum Punch, but I have enjoyed many of the films and television series adapted from his fiction.  Negromancer offers Mr. Leonard’s family our condolences.  R.I.P., Mr. Leonard.

Review: "3:10 to Yuma" an American Classic

TRASH IN MY EYE No. 45 (of 2007) by Leroy Douresseaux

3:10 to Yuma (1957)
Running time:  92 minutes (1 hour, 32 minutes)
DIRECTOR:  Delmer Daves
WRITERS:  Halsted Welles (based upon the short story by Elmore Leonard)
PRODUCER:  David Heilweil
CINEMATOGRAPHER:  Charles Lawton, Jr. (D.o.P.)
EDITOR:  Al Clark
COMPOSER:  George Duning
BAFTA Award nominee

WESTERN/THRILLER

Starring:  Glenn Ford, Van Heflin, Felicia Farr, Leora Dana, Henry Jones, Richard Jaeckel, and Robert Emhardt

The subject of this movie review is 3:10 to Yuma, a 1957 Western film and thriller from director Delmer Daves.  The film is based on the short story, “Three-Ten to Yuma,” written by Elmore Leonard and first published in the March 1953 issue of Dime Western Magazine.  3:10 to Yuma stars Glenn Ford and Van Helfin in a story of a rancher who escorts a notorious outlaw to the train that will take him to prison.

A crippling drought has hit Dan Evans (Van Heflin), a poor rancher, hard.  Fate steps in when Evans and his two young sons run into outlaw Ben Wade (Glenn Ford) and his gang robbing a stage coach of a fortune in gold.  When Wade is later caught, the town marshal of Brisbee offers a bounty to any men willing to escort Wade to the small dusty town of Contention.  There, they’ll board a train and take Wade to the prison town of Yuma.

Desperately in need of money for his cattle, Evans accepts the $200 bounty, in spite of his wife, Alice’s (Leora Dana) protests.  Evans joins the town drunk, Alex Potter (Henry Jones), and, Mr. Butterfield (Robert Emhardt), the owner of the gold, in escorting Wade.  Soon, the trio is held up in a small hotel in Contention with Wade.  They’re waiting for the 3:10 to Yuma while Wade’s gang closes in on the town, fiercely determined to free their leader.

Sometimes a film is so full of stereotypes in terms of characters, setting, and plot that the film is indeed a stereotype.  There are, however, rare occasions when such a film hits all the notes with perfect pitch, and what could have been nothing more than typical (entertaining, but typical) becomes an exceptional movie.  That’s what 3:10 to Yuma is – an outstanding horse opera.  Not only is it a great western, 3:10 to Yuma is also a thriller and a crime drama.

While managing to be a western, this is also a broader story about a man doing something because he should, not that he necessarily wants to put his neck on the line.  This could also easily be a tale set in the city, especially the way director of photography Charles Lawton, Jr. and director Delmer Davis stage 3:10 to Yuma in an interplay of liquid shadows and brilliant light as if this movie were Film-Noir.

As for the elements that are familiar to western movies:  there’s a really, good and humble man, and a cool, overly confident villain (who is also apparently an accomplished lover).  The citizens of two little towns want the bad guy to get his just punishment for his crimes, but most of the men are too afraid to stand up with the hero, whose only stouthearted partners are the portly owner of the stolen gold and the town drunk.  There’s even a lonesome setting – the barren Southwestern dry lands.  The hero also has a worried wife, and two sons who really want their dad to take on the bad guy, and the bad guy’s partners are a gang of nasty bad guys.

Still, all these familiar elements come together in harmony under the gaze of Charles Lawton, Jr.’s perfectly focused cinematography.  The cast work their engaging little drama, with its aspirations of being an epic, all while the strains of George Duning’s thrilling score dances overhead.  How director Delmer Daves transformed the ordinary flick into a memorable western, I’m not sure, but perhaps it is that he captured every moment at the right moment.  Maybe, it’s Glenn Ford’s superb performance as Ben Wade – especially during those intimate moments with Felicia Farr’s Emmy.  Perhaps, it is how Van Heflin and Leora Davis are so convincing as a couple with a long history and an even deeper love.  Or it could be every single thing in 3:10 to Yuma.

8 of 10
A

Tuesday, March 6, 2007

NOTES:
1958 BAFTA Awards:  1 nomination: “Best Film from any Source” (USA)

2012 National Film Preservation Board, USA:  National Film Registry

Updated:  Wednesday, August 21, 2013

Review: "3:10 to Yuma" Remake a Superb Modern Western

TRASH IN MY EYE No. 13 (of 2008) by Leroy Douresseaux

3:10 to Yuma (2007)
Running time:  122 minutes (2 hours, 2 minutes)
MPAA – R for violence and some language
DIRECTOR:  James Mangold
WRITERS:  Halsted Welles and Michael Brandt & Derek Haas (based on the short story by Elmore Leonard)
PRODUCERS:  Cathy Konrad
CINEMATOGRAPHER:  Phedon Papamichael (D.o.P.)
EDITOR:  Michael McCusker
COMPOSER:  Marco Beltrami
Academy Award nominee

WESTERN/ACTION/THRILLER

Starring:  Russell Crowe, Christian Bale, Logan Lerman, Dallas Roberts, Ben Foster, Peter Fonda, Vinessa Shaw, Alan Tudyk, Luce Rains, Gretchen Mol, and Ben Petry

Director James Mangold’s rousing, edgy Western, 3:10 to Yuma, is a remake of a 1957 film of the same name that starred Glenn Ford and Van Heflin.  Mangold (Walk the Line) isn’t robbing the grave of Hollywood classics; instead, he has fashioned the Western as a modern, suspense-thriller that is as close to an old-fashioned horse opera as a modern film can be.  Both the first film and Mangold’s remake are based on the short story, “Three-Ten to Yuma,” written by Elmore Leonard and first published in the March 1953 issue of Dime Western Magazine.

Rancher Dan Evans (Christian Bale) struggles to support his ranch and family during a long drought.  Desperate for money, Evans agrees to transport the captured outlaw, Ben Wade (Russell Crowe), from nearby Bisbee to Contention, the closest town with a rail station.  There, they’ll wait for the 3:10 train to Yuma, where Wade will be imprisoned while awaiting trial for his numerous crimes, mostly murder and robbery.  Holed up in a Contention hotel, Wade attempts psychological havoc on Evans, offering Evans much more money in exchange for his freedom than he would get for holding Wade captive.  Meanwhile, Wade’s henchmen, led by the vicious Charlie Prince (Ben Foster), storm into town offering money to any man who will shoot Wade’s captors.  Complicating matters, Dan’s son, William (Logan Lerman), has stubbornly joined his father on this deadly mission.

Mangold’s sturdy remake isn’t an exercise in pointless violence, although the film is indeed violent, and while it is more graphically violent than Westerns from the 30’s to the 60’s, this modern version of 3:10 to Yuma heals the wounded heart of the Western genre which has, with a few exceptions, been in steep decline on the big screen.  This is a grand character study, and acting its chief strength, relying on the considerable talents of Russell Crowe and Christian Bale.

The good guy/bad guy relationship between Crowe’s Ben Wade and Bale’s Dan Evans has to be played just right in order to work, or the relationship will seem like a tired old storytelling cliché.  The characters that Bale usually play seem like the everyman as quiet man.  Evans isn’t a hero or even a brave man, as we usually think of bravery, and his son William reminds him every chance he gets, by words, with a stare, or in his sullen expression.  Evans, however, is determined this one time – in dealing with Ben Wade – to be heroic.

On the other hand, Russell Crowe’s Ben Wade is the devil – pure and simple.  Supernaturally wily, he seems faster, stronger, smarter, and more vicious than any other human he encounters.  He has given in to his pure instincts and wants – like an animal, but much more dangerous because he is ultimately a human without the checks and balances of ethics and morals.

The viewer wouldn’t be overdoing it by seeing Evans as the Christ-like sacrifice and Wade his devilish tempter.  The good/bad dynamic, however, is a staple of the Western, and 3:10 to Yuma is rife with the genre standards.  That is how this extremely well-acted and superbly-directed film honors the American Western, and 3:10 to Yuma honors this venerable genre with gusto.

8 of 10
A

NOTES:
2008 Academy Awards:  2 nominations:  “Best Achievement in Music Written for Motion Pictures, Original Score (Marco Beltrami) and “Best Achievement in Sound” (Paul Massey, David Gaimmarco, and Jim Stuebe)

Sunday, March 09, 2008