3:10 to Yuma (2007)
Directed by James Mangold
In Arizona in the late 1800s, infamous outlaw Ben Wade and his vicious gang of thieves and murderers have plagued the Southern Railroad. When Wade is captured, Civil War veteran Dan Evans, struggling to survive on his drought-plagued ranch, volunteers to deliver him alive to the "3:10 to Yuma", a train that will take the killer to trial.
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What critics compared 3:10 to Yuma to
The films end up being crushed by the weight of their own self-importance, filled with empty and soulless homages to The Searchers or A Fistful of Dollars instead of inspiring anything real.
Director James Mangold (who helmed previous installment The Wolverine) returns, bringing with him a Western sensibility honed on his superlative 2007 remake of 3:10 to Yuma.
Given the guy’s stacked, eclectic resume — 1997’s Cop Land, 1999’s Girl, Interrupted, 2005’s Walk the Line, 2007’s 3:10 to Yuma, et al — there was never any doubting his abilities, but few could have ever predicted he’d return with something this vital and bruising, not after his good-but-not-great take on The Wolverine.
We could also compare it to Mangold's own terrific western 3:10 to Yuma, for that matter.
Mangold (“Cop Land,” the 2007 remake “3:10 to Yuma”) approaches “Logan” like a Western — specifically, the kind whose hero is an aging gunslinger.
Westerns seem to fire Mangold’s imagination, as evidenced by his best previous film, 2007’s 3:10 to Yuma .
Pushing much of the genre’s flash to the side and embracing a bit of mortal grime, the director of 3:10 to Yuma (not quite an elegiac western) has delivered the most diverting superhero film in many years.
Directed by James Mangold (“3:10 to Yuma”), from a script by Mark Bomback (the “Total Recall” remake) and Scott Frank (“Marley & Me”), “The Wolverine” is based on a legendary 1980s story arc by Chris Claremont and Frank Miller.
That allows new-to-the-fold director James Mangold ("3:10 to Yuma," "Walk the Line") to play up and off the cultural aspects of the Japanese warrior, especially, as one character puts it, Wolverine being akin to a ronin or a samurai without a master.
Director James Mangold (Knight and Day, 3:10 to Yuma) does a good job with the quieter character moments, although he shoots some of the fight sequences too tightly, with many blending into a violent sameness.
Mangold (3:10 to Yuma, Walk the Line), a director better known for muscular dramatics than muscular mutants, is clearly aiming for a more down-to-earth superhero movie with The Wolverine, especially compared with the knuckleheaded X-Men Origins: Wolverine (2009).
Director James Mangold ("3:10 to Yuma," "Walk the Line"), brought in after original director Darren Aronofsky backed out, captures some playful images and balances yet another grim superhero saga with effective comic relief.
Improbably sitting at the helm of this solid action distraction is James Mangold, a Hollywood hireling whose prior forays into genre cinema—the Tom Cruise vehicle Knight And Day , the toothless remake of 3:10 To Yuma —scarcely suggested a gift for splash-panel spectacle.
Admittedly, had award-winning director James Mangold (3:10 to Yuma, Walk the Line ) been able to build this film without top class actors headlining, Knight and Day might have been a bit more ambitious, and likely a bit more deadly and daring.
The director, James Mangold, has previously dealt with crazy characters ( "Girl, Interrupted" ), romantic comedy ( "Kate & Leopold" ), and action ( "3:10 to Yuma" ), so "Knight and Day" seems to come fairly naturally.
In fact, director James Mangold (“3:10 To Yuma,” “Walk the Line”) makes it clear that those questions aren’t important.
Mangold, who directed 3:10 to Yuma (2007) and Walk the Line (2005), knows that Knight and Day has none of their realism.
Tom Cruise returns to form in this entertaining action-comedy from director James Mangold ("3:10 to Yuma").
The director is James Mangold , whose previous two films were " Walk the Line " and " 3:10 to Yuma ."
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His writing and directing on films like Logan, Walk the Line, and 3:10 to Yuma shows his knack for reinventing and improving familiar stories, and Ford v Ferrari doesn’t break from that tradition.
James Mangold is a somewhat consistent director of the past couple decades; when he embraces his clear love of Westerns, such as in 3:10 to Yuma , Cop Land , and Logan , the results can be a delight.
Written by Jez Butterworth, John-Henry Butterworth and Jason Keller, “Ford v Ferrari” is well-directed by James Mangold, whose diverse resume includes the terrific June Carter and Johnny Cash biopic “Walk the Line” (2005) and the Western “3:10 to Yuma” (2007).
Mangold is too good a filmmaker to let us down, and he expertly jumps genres in a career that includes such disparate films as Girl, Interrupted, Logan, Walk the Line and 3:10 to Yuma.
Director James Mangold (Logan, 3:10 to Yuma) revs up the action for this high-octane dramatic thriller based on a true story, placing viewers behind the wheel with Christian Bale as he hurtles around the racetrack.
Tras el volante se encuentra James Mangold, director de Walk the Line, 3:10 to Yuma y Logan, quien transforma la sensacional historia verídica de la legendaria carrera automovilística de Le Mans en 1966 en un frenético filme que jamás quita el pie del acelerador.
After the success of James Mangold’s 3:10 to Yuma and the Coen Brothers’ True Grit , it seemed more possible to explore modern takes on the classics, which brings us to Antoine Fuqua and his The Magnificent Seven remake, which marks his third teaming with Denzel Washington after Training Day and The Equalizer .
But "Grit" lacks the emotional power of Clint Eastwood's "Unforgiven" (1992) or even James Mangold's "3:10 to Yuma" (2007), landing it squarely in the "good but not great" category of Hollywood westerns.
And, as Ben Wade says in 3:10 to Yuma, “Even bad men love their mommas.”
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Few helmers take greater satisfaction in reminding audiences that they are watching a movie, and though the material itself seems hardly substantial enough to suit an hour-long television episode (Delmer Daves told the superior — and superficially similar — “3:10 to Yuma” in a tight 92 minutes), Tarantino’s treatment makes it epic.
In addition to Radcliffe as "Ginsie," we get the always committed Ben Foster ("3:10 to Yuma," "The Mechanic") as a drug-addled, zombie-eyed Burroughs, and rising star Dean DeHaan ("The Place Beyond the Pines," "Chronicle") as Lucien Carr, a decidedly wild breath of fresh air at stuffy 1944 Columbia, and the figure that would draw Ginsberg and Burroughs together with Jack Kerouac (played by Jack Huston), setting all three on the road to re-writing the literary rule book.