“Who the hell gets drunk off beer?”
Set amidst the scorching red sun of dirt laden West Texas, David Mackenzie’s Hell or High Water effortlessly maneuvers its way through the genre clichés and stereotypes to give us a unique western thriller that offers up a stream of witty dialogue that plays behind a heartfelt story of corporate revenge and family bonds.
A pair of bank robbers who have hit a series of Texas Midlands Bank branches are beginning to cause a stir. Demanding rather minimal funds from each hold-up, the capers are operating outside the usual elements, forcing Bridges’ Marcus Hamilton, a high profile Texas Ranger, to think outside of the box as he attempts to close one last case before retirement.
The culprits prove to be none other than Toby and Tanner Howard, brothers who are attempting to pay off their dead mother’s mortgage by robbing the same bank that provided it to her in the first place. It’s good old-fashioned Texas justice: the bank is getting ripped off by the very people that it ripped off.
Though the film often appears to be set in the late 1800s, Hamilton’s iPhone quickly clears that assumption, setting things perfectly clear as audiences begin a wild and somewhat roller coaster ride through the countryside of West Texas as they witness a series of robberies, few of which go according to plan.
The film works for many reasons, most notably that of its characters and its refusal to take itself too seriously. In much the same vein as Butch Cassidy and the Sundance Kid, Hell or High Water is a unique cat-and-mouse chase, one that crafts a near flawless blend between comedy and drama, never alienating one for the other, and coming across authentic and genuine as a result. Don’t get me wrong, Toby and Tanner are no Butch and Sundance, but their story plays out in much the same vein, even if they are set almost a century apart.
While many current westerns fail to understand the appeal of John Wayne films of the 60s and 70s, British director David Mackenzie revels in it, utilizing the slow burner approach to keep audiences engaged. That, combined with sharp dialogue and an intelligent story arc, allows the film some merit. These guys aren’t professional, but they have a plan that actually makes sense. (Exploiting the Indian Casino industry in an effort to screw over their bank. Bravo Mackenzie. Bravo.)
Foster and Pine share a unique chemistry that helps to sell the two as estranged brothers navigating the world of crime in an effort to preserve a healthy life for their family. The same can be said for Bridges and Gil Birmingham (Hamilton’s Ranger partner Alberto Parker). Though Hamilton’s Texan roots are a bit overdone, and his racist humor towards Alberto is painfully stereotypical of those who reside in the Lone Star State, it somehow works within the context of the story.
The final shootout sees the situation get a bit more intense, a sharp contrast to the previous 90 minutes. But Mackenzie holds true to his old school approach. And while the strong left leaning storyline won’t be for all, for those who bask in the greatness of classic western thrillers, Hell or High Water is made just for you. Though not perfect, it is about as damn close as you’re gonna get.
