Appaloosa (2008)

Ed Harris wrote, directed, and stared in Appaloosa. With fellow writer Robert Knott, he's really written more of a story that happens to take place in the Old West than a classic western. And what you really have to give Harris credit for, is although he's holding the reins on this movie from three directions, he still stands just off to the side to let Viggio Mortenson shine. It's ironic because that's just what Mortensen's character is trying to do for Harris' in the film.

Harris' character Virgil Cole is clearly flawed. He walks around with with well-founded confidence and swagger and yet still quietly acknowledges his downfalls. Mortensen's Everett Hitch is Cole's partner in a lawman-for-hire operation - the quiet man carrying the giant gun. Their teamwork is inspiring as they work to protect the town of Appaloosa from rancher Randall Bragg (Jeremy Irons still channeling Scar from The Lion King).

Their smooth teamwork is interrupted by the arrival of widow Allison French (Renee Zellweger). Ms. French will play anyone to get whatever she needs and the idea of a woman doing that to survive in the old west is intriguing. Unfortunately, Zellweger pours all her focus into the conniving aspect of her character and forgot to also show us why anyone would love her, much less stick their neck out for her, in the first place. We're lucky that Harris and Mortensen are so good they can pretty much hold up that plotline without her.

As far as plot and visuals go, the movie has many of your typical western elements: a scene on a train, plenty of horseback riding, a conflict with native americans, and at least one spectacular shoot out sequence. But this movie is more than just that. It has a heart and mind. So many westerns have larger than life characters, but this one has ones you can actually relate to. Cole and Hitch are real, relatable people. And they sound like it too - the dialogue works wonderfully. It's obvious that this project was a labor of love for Ed Harris.

And it's films like Appaloosa and 3:10 to Yuma that have managed to keep the western genre open to appeal to a wider audience than just those who typically enjoy westerns. Audiences just need to give them a chance.

Rating: 4/5
Recommended for: The farmer AND the cowhand provided they are over 13.

Leatherheads (2008)

George Clooney directs himself in a story about the revamping of US professional football in the mid 1920's. Clooney plays Dodge Connelly, an aging football player. The movie also stars John Krasinski, as Carter Rutherford - college football and WWI hero - who has been recruited to bring life back into the collapsing pro league. Renee Zellweger jumps in as Lexie Littleton, the Chicago newspaper reporter sent to find out if Rutherford's heroism was real. It's a mildly interesting setup that makes for a mildly interesting movie.

Clooney does well with some 1920's-style comedy film nods but the film isn't completely cemented in retaining that film style, which sometimes makes it all come off a bit too goofy for a modern audience although it could still be appreciated by film connoisseurs. The love triangle between the leads was a given but when one player asserts his dominance about halfway through, the premise becomes a throwaway. The dialogue has some great exchanges enhanced even more so by the actors' rapid-fire volleying. Unfortunately as the movie progresses, it gets bogged down by a continually slowed overall pacing until the end of the film is slowly dragging itself through the mud - literally. It was a nice effort and it looks like everyone involved gave it their best, but overall it was just an okay film.

Rating: 2/5
Recommended for: Someone who has nothing to do for two hours and doesn't mind Renee Zellweger, George Clooney, or John Krasinski.

Extended Review: After the smart banter, the next best thing about this film is the story behind Rutherford's WWI medal. In a modern film, the focus would have been on Rutherford as he retells how he accidentally got a whole enemy squad to surrender. But in keeping with the 1920's style, we're treated to a flashback of the event. The lucky confusion of the enemy isn't the funniest plot point ever, but it is clever. And once he returns from the flashback, Krasinksi wears the story like a weight around his neck bringing a bit more depth to his character in a film full of rather flat characters.