I don’t really know what I was expecting with Hell or High Water; in all honesty, when I was making potshot guesses as to the other Best Picture nominees of this past year that stood a chance of making the 1001 list, I’d pegged Hacksaw Ridge over this one. I’d heard the good will towards this going into the Oscars last year, but didn’t really have any reason to want to see it, so to have it added to the list, essentially making me see it much earlier than I otherwise would’ve, I was nevertheless ambivalent when I actually sat down to start it. Now that it’s finished, I can understand my ambivalence a little better, as even though I’ve now seen the film, I still feel a slight bit of ‘nothing’ in regards to my desire towards watching the film. But, and here’s the key point for me, that is not to say that Hell or High Water isn’t a really solid film, all ambivalence aside.
Chris Pine and Ben Foster are two Texan brothers who, at the beginning of the film, rob two branches of a Texas-based bank; Foster proving himself the wilder of the two, while Pine seems to be the cooler head, the brains behind what’s going on. It soon becomes apparent that there actually is something going on, a greater plan behind the brothers’ actions, especially as Pine’s character has no criminal record at all up to this point. To figure out what’s happening and to bring in the two brothers is Jeff Bridges as an old-hat, salt-of-the-earth Texas Ranger, who’s spending his last couple weeks or so on the job doing little but playfully belittling his Native American partner until the brothers’ case comes his way, and he and the brothers work their way in and around and toward each other as the boys try and get their plan wrapped down before Bridges’ ranger can work out where they’re headed next. If that plot summary sounds like I’m sorta fumbling around what actually happens in the film, I am; a lot of the film is poised such as to get us to wonder what’s going on, or what’s coming next, and there is a distinct air of mystery to the proceedings as we try and figure out along with the Rangers what the two brothers are really up to. I also tried to stress the Texas upbringing that the film is absolutely saturated in; this film is Texan in every which way, down to its very core. The whole experience comes across very much as a slightly watered version of No Country for Old Men; No Country’s eager if elementary little brother, so to speak, which, as a comparison, isn’t one a film like this wouldn’t necessarily want to strive towards, so to see Hell or High Water embrace this aspect of itself so fully is highly encouraging. The performances from the cast were also really solid, especially Ben Foster, who steals nearly every scene he’s in, but Pine and Bridges are up to the task of carrying the film themselves when they need to.
This film, for me, ended up being a good lesson in how to approach the worth or value of a film (provided the film itself has worth or value). A lot of films, especially on the list, are there because they are important in some way, or unique in some other way, or special in some third way, etc. That’s all well and good for something like the list, but it’s not really a good way of determining if a film, any film, is worth the time put into it. Hell or High Water is a great example of a film that is none of the above things, but still gets by on the fact that it’s just a really good film all around. Sometimes, a film doesn’t need to be important, or unique, or one-of-a-kind; all that really matters is that it be good – well-written, well-made, and well-performed, and Hell or High Water is absolutely all of those things. Now, I can’t say that a film like Hell or High Water is worth a spot on this list, or that it will survive future revisions, but I can be glad that it was added just for the fact that it got me to see the film; a film that may not seem like it at first, but ends up being worth your time in the end.
Arbitrary Rating: 8/10