Hell or High Water is a western film directed by David Mackenzie, with an original screenplay by Taylor Sheridan. The film follows Toby (Chris Pine) and his ex-con brother Tanner (Ben Foster) as they carry out a series of bank robberies in West Texas in an effort to scrape together enough funds to save their family’s ranch. However, two Texas Rangers, led by Marcus Hamilton (Jeff Bridges), are right on the Howard brothers’ heels the entire way.
To be completely honest, until Hell or High Water was released theatrically in August, I had barely any knowledge about what the film was even about—if it were not for my favorite film podcast reviewing the movie shortly after its release, I would not have even been able to give someone a cursory description of the plot. I did not end up seeing the film until December, but when I finally did, I tweeted this:
If my No. 1 film did not exist this year, Hell or High Water would have clearly ended up with my coveted “Best Film of the Year” moniker—the movie is exhilarating. Hell or High Water is directed by David Mackenzie, who is a familiar face on my list: Two years ago, his unbelievably raw prison drama Starred Up ranked as my No. 4 film of the year. This year, Mackenzie is back with an even better movie. Just as with Starred Up, his knack for shameless filmmaking is clearly evident here, and his direction is self-assured and impeccable.
Helping Mackenzie along the way is Taylor Sheridan’s perfect (yes, perfect) script. Sheridan’s screenwriting debut was in last year’s Sicario, another of my favorite films, and in Hell or High Water, he has continued to tap into his screenwriting strengths, penning a script that is both emotionally visceral and distinctively enigmatic. Hell or High Water is the single greatest modern western since the Coen Brothers’ Best Picture-winner No Country for Old Men (2007), and to be honest, I actually like this one better (which seems almost sinful to say, considering No Country for Old Men is utterly amazing)—Hell or High Water is a much broader and deeper character study, causing you to be emotionally invested into the back-stories of nearly all of its characters. Needless to say, Mackenzie and Sheridan have crafted a classic in the western genre.
To top it all off, Hell of High Water is masterfully acted. Chris Pine has made his mark in Hollywood as the current Captain Kirk in the reboot of the Star Trek franchise, but in this film, he proves that his acting chops are worthy of broader critical praise. His character devises the plan to rob local banks in order to “stick it to the man,” as those very banks threatened to take his family’s ranch. In carrying out these robberies, Pine’s Toby is focused and resolute. This is much the opposite of his brother Tanner, brilliantly played by Ben Foster. In films like Alpha Dog, 3:10 to Yuma, and 2016’s The Program, Foster has long proved that he is an incredibly talented artist; however, he gives the best performance of his career as Tanner Howard. Tanner is a former convict who has been recently paroled, and the idea of risking his freedom for more crimes does not faze him one bit—in fact, Tanner embraces it. While Toby is more concentrated during the robberies, Tanner is a bit more erratic. In one scene, while the brothers are taking a break from their robberies to eat lunch at a local diner, Tanner walks across the street to single-handedly rob another bank, risking the entire operation. Tanner is intense and unpredictable, and Foster portrays these characteristics with precision.
However, as can be expected, the show is stolen by a vintage performance by Oscar-winner Jeff Bridges as Texas Ranger Marcus Hamilton. Bridges is clearly one of the best to ever do it, and he channels that first-rate acting in Hell or High Water. Closing in on his retirement, Marcus spends much of his time joking with his partner, Alberto (Gil Birmingham), and contemplating life. However, when it comes to chasing the Howard brothers across West Texas, Marcus is as focused as ever. The character is methodical and precise in his investigation, and Bridges plays it beautifully—this is definitely one of those performances I will remember for a long time. Hell or High Water is rated R for some strong violence, language throughout and brief sexuality.
Hell or High Water trailer: https://www.youtube.com/watch?v=JQoqsKoJVDw
Academy Award nominations for Hell of High Water:
Best Picture (Carla Hacken and Julie Yorn)
Best Actor in a Supporting Role (Jeff Bridges)
Best Original Screenplay (Taylor Sheridan)
Best Film Editing (Jake Roberts)
Previous movies on the countdown of my Top 10 Films of 2016:
- Arrival
- Moonlight
- Lion
- O.J.: Made in America
- La La Land
- Fences
- Zootopia
- Nocturnal Animals
This film is not about the US’s “war on drugs.” Sicario is 100% about the drug war—a meticulous difference that must be recognized. This subject matter has become more and more popular for the film industry in recent memory, but that was not always the case. In 2000, Steven Soderbergh gave us Traffic, an Oscar-winning film that broke new ground as it pertained to the drug-cartel crisis at the border; however now, in present day, this topic is seen quite often. In 2013, there was the critically acclaimed documentary Narco Cultura, which was nominated for the Grand Jury Prize at the 2013 Sundance Film Festival. And aside from Sicario, 2015 also brought us Cartel Land, a gripping documentary about vigilante groups on each side of the border fighting back against the cartels—this film earned an Academy Award nomination for Best Documentary. I mention the recent history of this genre to highlight the fact that director Denis Villeneuve does not tackle some innovative topic with Sicario. However, this film quickly became one of my absolute favorites from the year because Villeneuve and his cinematographer (Roger Deakins) have made the trek to the well of Mexican-American drug-war films and come back with a unique perspective that is both spine tingling and visually stunning.
Villeneuve and Deakins begin the film with incredibly horrific images, and these same types of gruesome illustrations are pervasive throughout. We see the walls in a seemingly empty house on the Arizona-Mexico border torn down to reveal tens of dead bodies; when the task force strolls through downtown Juarez, dead bodies hang from bridges. These moments set the tone for Villeneuve’s film. We as Americans have many anxieties and speculative expectations about our border relations with Mexico as they relate to the drug war—via these visceral images, Villeneuve and Deakins validate those fears. This is war; it is real, and it is not pretty! Another aspect of the film that stands out is its take on deceit and duality. 
With the exception of Kate, it is difficult to pinpoint or even comprehend the characters’ motives. It is never revealed who Matt Graver even really works for—he is a “special agent,” but for who? And Alejandro is as enigmatic as they come. Villeneuve previously tackled morally duplicitous characters in Prisoners (2013), but he expands upon that examination with far more depth in Sicario. All in all, Villeneuve crafts an inimitable vision in Sicario, and cinematographer Roger Deakins paints that picture with his camera in the most instinctive ways possible.
The acting in Sicario is absolutely first-rate. The stars are an incredibly talented trio: Emily Blunt, Benicio del Toro, and Josh Brolin. Brolin portrays special agent Matt Graver, a seemingly relaxed soldier who has apparently found his calling in the drug war. When he first meets Kate, he strolls into FBI offices wearing the epitome of casual dress: flip-flops. Behind his laid-back exterior, though, is a menacing man—Matt takes his actual work serious, and if you are not on board, then in his mind, GTFO! Brolin has made a pretty solid career out of playing this type of character—the ostensible douche—but that is because he is such a talented actor. I always bought into Brolin in this role, and although his significance is laconic, his performance is adroit.
The film’s best performances come from Blunt and del Toro. Emily Blunt is by far one of my favorite actresses (she is incredibly talented and undeniably fetching), and in 2014, she made her mark as a cinematic badass with her role as Sergeant Rita Vrataski in Edge of Tomorrow. That performance gained her action-star credibility, but her character could not be more different in Sicario. Kate Macer plays by the rules. She needs formulaic process and boundaries. She needs a clear-cut objective. Thus, Kate is in for a rude awakening when her mission with Matt and Alejandro blurs the mechanical lines she so desperately requires. In one scene, Kate asks Matt, “What’s our objective?” Matt responds, “To dramatically overreact.” This really is the task, and it makes Kate uncomfortable. In another scene, Kate discusses tracking down the leader of the cartels, to which Alejandro responds, “Every day I cross that border, people are kidnapped with or killed with his blessing. To find him would be like discovering a vaccine.” 
In this moment, Kate realizes not only the gravity of her mission, but also the confliction of it—the drug cartels keep these task forces in business, so at some point they are necessary. Although I initially thought Blunt’s character was a bit too dry and unappealing, I now realize how important she is. Blunt’s performance was not showy and dramatic—the kind that will garner you Oscars. But she was calculated—effective and honest. Blunt succeeded in that endeavor. 
As far as Benicio del Toro, he absolutely should have been nominated for an Oscar for Best Supporting Actor. The complexity of his character required not panache, but enigma; it needed not loquaciousness, but quiet subtleties. Del Toro delivered with perfection. Two scenes stood out for me in regards to his performance. At one point in the film, there is a wildly gripping moment during a traffic jam on the drive back to the US from Mexico. As the tension builds, Alejandro is at the center of the commotion. Benicio del Toro thrived in this moment. Additionally, the climax of the film (which I will not spoil here) features del Toro at his best—that one scene makes the entire viewing experience worth it! Sicario is rated R for strong violence, grisly images, and language.
WINNER: Mad Max: Fury Road (John Seale)
The Reel Countdown 