Cast:
Jeff Bridges (Texas Ranger Marcus Hamilton), Chris Pine (Toby Howard), Ben Foster (Tanner Howard), Gil Birmingham (Texas Ranger Alberto Parker), Marin Ireland (Debbie Howard), Katy Mixon (Jenny Ann), Dale Dickey (Elsie), Kevin Rankin (Billy Rayburn), Melanie Papalia (Hooker), Amber Midthunder (Vernon Teller), Taylor Sheridan (Cowboy), and Margaret Bowman (T-Bone Waitress) Directed by David Mackenzie.
Review:
"I find myself relating to stories that feel like they’re about characters who are struggling to deal with themselves in some way or another, more than I am about necessarily the worlds. In order for a story to kind of hit me, it’s much more about the people than it is of necessarily about the world."
Unsurprisingly, this is a film where more than one voice is crucial to how it came to pass as a memorable film of its time. David Mackenzie became a filmmaker after his study at Duncan of Jordanstone College of Art and Design in his native Scotland. He made a couple of short films while being inspired by Danish cinema, specifically the Dogme 95 movement (another time). He made his debut in features with The Last Great Wilderness (2002). His films were either dramas or comedies, which ranged from work such as the erotic drama Young Adam (2003) or the prison feature Starred Up (2013). Hell or High Water is his ninth feature film and second American film. The movie was written by Taylor Sheridan, an actor-turned-writer. Under the working title of "Comancheria", it was his second film script, but it was his first sold. However, it was his first script in Sicario that ended up being made first, which was done in 2015 to general success. These films, alongside his later feature Wind River (2017), which he wrote and directed, is part of what he called a trilogy of "the modern-day American frontier." He has stated that the key influences in his writing were the Coen brothers along with Cormac McCarthy and Larry McMurtry. When Mackenzie was sent the spec script as a spec project, he fell for it right away, admiring the "freewheeling vibe to it that I love in 70s movies"; of course, one would not be surprised to notice touches of the outlaw stories from the 1930s present here.
There is something quite interesting about the desolate eloquence that Mackenzie and Sheridan try to accomplish with such an easygoing crime thriller. It rides most of its strength on interesting characters and actors to inhibit these folks that seem as worthwhile to view that rolls its beat in mannerisms similar to No Country for Old Men (2007), although each film have their own approaches to the chase. Arguably, it outclasses that movie when it comes to overall execution from start to finish to earn its final resting spot that finds a worthy resolution to hang its hat on. It isn't a perfect movie, but it surely makes a captivating case for a suitable neo-Western in the eyes of those familiar with the frontier it reaches in its haunting elegy that has wide landscapes of West Texas and the folks that accompany it. The main drawing point is the dual storylines involves Pine with Foster to go alongside Bridges and Birmingham; no matter how one treats films by how much they need a clear-cut "hero" or "villain", it should work out pretty well regardless of one's patience for material such as this. Pine and Foster share a great rapport with each other as on-screen siblings that never seems inauthentic, with each actor managing to share the stage in terms of highlights. Pine is far more than the perception of low-key that one might think early on from him, mostly because he proves the most endearing figure in the long run. Foster and his volatile charisma prove just as watchable in terms of showing the other side of trying to commit what you might call the "perfect crime": the challenge of not becoming fully absorbed by the thrill of it all. Within the other side of the chase is Bridges, wracked in melancholy and withering strength that makes for quite a pairing with Birmingham, one that sees them insult each other in ways familiar with bonds formed through work (which results in a bit of humor before a sobering climax). There are numerous sequences one can highlight in the film as being effective beyond the heist, such as the opening robbery sequences, which each involve quiet settings being disrupted by sudden action. Or one could highlight a sequence in the diner that sees a makeshift robbery and a small scene of warmth between Pine and Mixon. Of course, the porch sequence in the end of the film is a good one in simmering tension and fateful finishing that works exactly to what Sheridan intended when it comes to endurance, as reflected by the grisly handling of the climax. It is ultimately a movie about how much a bond between people can take them depending on the circumstances, whether that means the bond between a parent to do better for their children, a sibling doing something out of affection for their sibling or more.
The 102-minute runtime is handled effectively in the elements that matter within its genres of crime drama and neo-Western, utilizing familiar beats within each genre involving characters that seem quite real and useful to the landscape of story and setting. In the end, it is a heist movie, but it is a heist movie with the story of the ones doing it and (eventually) why being at the forefront, which works splendidly. It is a crackerjack type of thriller - the outcome never seems to be drawn out to the point of absurdity nor is it too reliant on complexity to make the proceedings irrelevant. In short, it is a mature kind of thriller, one with grizzled characters that matter to us with enough action and general charm to make it a surefire classic.
Overall, I give it 9 out of 10 stars.
Welcome to New Directors Month: Volume II. January 2022 will attempt to cover ground not covered in January 2022, which spotlighted thirteen directors not covered by Movie Night before, which has featured over 1,000 directors as we enter Season XIII - that January started with Erich von Stroheim and closed with Alejandro Jodorowsky. The next film up will certainly cover new ground...in world cinema.
