Everyone rejoice, the summer is over. The schools are back, the air is getting colder and soon we'll even get an extra hour in bed. But more importantly than that, the films are set to get a whole lot better.
Awards season is just around the corner, which means that studios will be saving their highest quality of releases so that they will remain in the voters minds when it's time for the Oscar and Golden Globe nominations to begin. There's been a lot of buzz coming out of Telluride and Toronto Film Festivals as to what we should expect the big winners to be come the start of 2017 (with Moonlight, La La Land, Manchester by the Sea and Nocturnal Animals being the most prominent) however after seeing Hell or High Water last week, I would say it has a very good chance of getting some high praise and recognition in a few months time.
Directed by David Mackenzie and starring Jeff Bridges, Chris Pine, Ben Foster and Gil Birmingham, the film is about two brothers who decide to rob their local banks to take back the money they see as rightfully theirs, while also following two rangers (a soon to be retiree and his successor) who have been tasked with bringing the brothers to justice.
The first thing that I loved about Hell or High Water was its pacing. It is a very slow and deliberate story, reminiscent of an old style Howard Hawkes film like "Rio Bravo", a filmmaker who I can only gather that Mackenzie is greatly influenced by due to the many similarities I spotted between this film and a lot of Hawkes work. The pacing proves effective as it allows characters to develop in a very organic way and the plot to unveil itself in a profoundly deliberate manner. Linking on to this, "Hell or High Water" explores the intricacies of loving yet platonic male relationships, namely in this case the love and undying loyalty of the brothers and the respect and bond shared by the two rangers. The dialogue and is also very conversational and natural, yet another definitive filmmaking aspect clearly inspired by Hawkes. Despite this, it never comes across as mimicking (this film is considerably less jovial than anything Hawkes made starring The Duke) but it is nice to see these great traditions of the Western genre (in particular Hawkes trilogy) being carried on and updated to reflect where the medium is now in the 21st century.
The cinematography is brilliant. The framing of every shot is meticulous, and Texas (or New Mexico where this was actually filmed) is a character in itself, whether it be its beautiful landscape or quaint dusty towns, as the rural setting is what truly brings life to the screen. The lighting is natural and the colour pallet faded, bringing a sense of depressing realism to the screen. The soundtrack is also impeccable, solidifying the tone and working-class centric telling of the story.
It's the outstanding performances the hold everything together here. The two supporting males are absolutely impeccable, showing the sometimes under-appreciated value that a great supporting performances can give a production. Ben Foster has totally redeemed himself in my eyes from the pile of horse-manure that was Warcraft. He is completely encapsulated into this character, giving one of the more exciting yet complete performances I've seen on screen in a long time. His comic timing is impeccable and the simmering undercurrent of the rage felt by this damaged and broken man is both captivating and slightly terrifying in equal measure. Loose cannon characters (ala James Khan in The Godfather or Joe Pesci in Goodfellas) are always bound to be entertaining, but Foster manages to bring an added sense of humanity and child-like vulnerability to his performance which makes me feel he could be a big contender come awards season. Birmingham is the exact opposite, giving a performance so subtle and void of excitement that many might have glanced over it, but in my opinion his work here is perfect. His expression is wonderful, and the moment he lies tearful in his motel-room bed pulls at the heartstrings because of the quiet and transparent sense of likability he brings to the part. This is a role that should increase Birmingham's stock to no end, and he's definitely earned himself a new fan in me. Pine and Bridges as our two leads are very similar, from my perspective portraying almost two sides of the same coin. They both come from similar social standing, similar areas, share similar views, have both experienced loss in their lives, yet the choices they make are what defines them. When they finally meet in the third act, the tension is palpable, but there is also an innate sense of empathy between the two men. Both are incredibly talented, with each flexing their dramatic muscles here in different ways. Pine's tear-inducing motivations bring understanding to his performance that may at first seem dry, while Bridges coming to terms with his retirement reminds you of the old man he doesn't want to be. Both are leading performances that should be appreciated for their raw presentation and stripped back delivery.
Overall, Hell or High Water is one of the highest quality films I've seen this year. Very artistic without putting off the ordinary viewer, it's a film that I could see becoming a sleeper hit and potential classic due to the universal themes and simple story it aims to present. Smart, classy and elegant, this is a must watch.
Score: 9.0/10
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