Hell or High Water (2016) - An Artful Neo-Western Masterpiece

This film is a miracle. A visual marvel that sweeps the beautiful West Texas landscape in all of its venerated glory. A poetic meditation on an antiquated and decaying portion of the United States. A thoughtful character piece with an emotional kick that sneaks up on you.

Oh, and it's also a rousing heist thriller packed with moments of irresistible tension and loads of dry wit.

The marketing for Hell or High Water leaned a little heavily on the latter to sell people on the movie. I suppose I understand that from a promotional perspective, but the elements of the film that really stick with you are the three-dimensional characters, the dazzling exploration of the West Texas countryside, and the quieter moments of reflection on an economically downtrodden section of the American population that seems to be stuck in the past.

This is modern filmmaking at its finest, and it's a movie that everyone should give a chance, even those who don't count themselves as fans of the cinematic western. While this is undoubtedly a contemporary western, it doesn't rely very much on some of the genre's more common characteristics. It's a movie in which anyone and everyone can find something to latch onto and enjoy.

Hell or High Water is impeccably well-acted. Each cast member wholly embodies his or her character, and the people we're watching on screen feel like genuinely real people. There aren't good guys and bad guys in the traditional sense. There are just people. Chris Pine and Ben Foster are our main protagonists, and Jeff Bridges is the man trying to stop them from achieving their goal.

In this sense, I suppose Mr. Bridges would be considered the "antagonist" of our story. However, there are understandable motivations on both sides of the conflict, and each of these characters, in their own way, gain our sympathy over the course of the narrative. It's a very deftly written screenplay by Taylor Sheridan, who seems to be making a living off of character-driven neo-westerns.

The film is directed by David Mackenzie, who has not yet made two films that are alike. He is an artistic chameleon, and helms Hell or High Water with a steady hand. His film is one of tremendous weight and power, and it's one of profound resonance as well. It's hard not to think about this movie for days after watching it. It's currently on Netflix, and I'd thoroughly recommend it to anyone reading this. It is, in my estimation, one of the strongest films of the 2010s and a legitimate cinematic masterpiece.

A+ 

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