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The Yards (2000)

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Leo is released from prison after serving time for car theft. His plan to go straight falls apart when he meets his corrupt uncle for a job and later an old friend working there. It culminates at the (railroad) yards.

Director:

James Gray
3 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Mark Wahlberg ... Leo Handler
Joaquin Phoenix ... Willie Gutierrez
Charlize Theron ... Erica Soltz
James Caan ... Frank Olchin
Ellen Burstyn ... Val Handler
Faye Dunaway ... Kitty Olchin
Steve Lawrence ... Arthur Mydanick
Andy Davoli ... Raymond Price (as Andrew Davoli)
Tony Musante ... Seymour Korman
Victor Argo ... Paul Lazarides
Tomas Milian ... Manuel Sequiera
Robert Montano ... Hector Gallardo
Victor Arnold ... Albert Granada
Chad Aaron Chad Aaron ... Bernard Soltz
Louis Guss Louis Guss ... Nathan Grodner
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Storyline

In the rail yards of Queens, contractors repair and rebuild the city's subway cars. These contracts are lucrative, so graft and corruption are rife. When Leo Handler gets out of prison, he finds his aunt married to Frank Olchin, one of the big contractors; he's battling with a minority-owned firm for contracts. Willie Gutierrez, Leo's best friend, is Frank's bag man and heads a crew of midnight saboteurs who ruin the work of the Puerto Rican-owned firm. Leo needs a job, so Willie pays him to be his back-up. Then things go badly wrong one night, a cop IDs Leo, and everyone now wants him out of the picture. Besides his ailing mom and his cousin Erica, to whom can Leo turn? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

He's the target of the most merciless family in New York. His own. See more »


Motion Picture Rating (MPAA)

Rated R for language, violence and a scene of sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English | Spanish

Release Date:

27 October 2000 (USA) See more »

Also Known As:

A bűn állomásai See more »

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Box Office

Budget:

$24,000,000 (estimated)

Opening Weekend USA:

$57,339, 22 October 2000, Limited Release

Gross USA:

$882,710, 19 November 2000
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

Although theatrically released in the fall of 2000, the film was shot during the spring and summer of 1998, and was originally slated for theatrical release in the fall of 1999. Studio and production problems, however, delayed the release for a full year. See more »

Goofs

The cars in the "subway yard" are not actually subway cars; they are circa-1963 suburban commuter coaches for the Metro-North & Long Island Railroads. See more »

Alternate Versions

The Unrated cut is 113 minutes and two scenes from the original theatrical R-rated cut have been removed. This version is about two minutes shorter. The final scene in court when Leo testifies and states that he has reformed and is reentering society as a productive citizen, has been dropped. A brief scene early in the film in which Willie (Phoenix) describes the importance of favors and gifts and "making it happen" is also cut (this scene however does appears on the included trailer on the DVD). The end credits now begin with 'empty' views of the film's settings before moving into the credits list. Also included on the DVD are several deleted scenes. See more »

Connections

Referenced in Beantown (2007) See more »

Soundtracks

I'm Beginning to See the Light
(1944)
Music by Duke Ellington (as Edward Kennedy Ellington), Johnny Hodges and Harry James
Lyrics by Don George
Performed by Peggy Lee
Courtesy of Capitol Records
Under license from EMI-Capitol Music Special Markets
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Frequently Asked Questions

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User Reviews

Terrific modern-day noir
3 July 2001 | by Eddie-102See all my reviews

This is an excellent film, well-written and expertly told. Unlike so many so-called "neo-noir" movies, this one is concerned with time-honored virtues of traditional storytelling, not style and attitude. As a director, Gray had the courage to tell his bleak, oppressive tale in a quiet, measured way, resisting the urge to ratchet up the action and decibels and pander to a jaded audience. If the story gets a bit needlessly contrived by the climax, it's rescued by the exceptional cast. This one can stand with the best of the classic noirs.


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