Hell or High Water

I like stories of people who have most things wrong in life and yet wouldn't change a thing. It's a devil's deal that such stories often take place in Texas. From Toby and Tanner's robberies, I feel a burning longing for old times that will never return, and Jeff Bridges' grumbling ranger saws the contours of a Western almost to perfection. In combination with perfect cinematography that captures all the vast expanses with absorbing haziness, I'm not far from giving this the highest rating. There's only one thing preventing me – the persistent feeling that it borrowed too much from No Country for Old Men. (01/11/2017)

The pure essence of Cormack McCarthy, about which regular adaptations of his works can just dream about. Without exaggeration, the best film neo-western, watching which you will be astonished on how many levels it works, without any possible "but". It works smoothly as a genre movie, as a study of magnificently written (and without exception equally magnificently played) characters, as a hypnotic movie that raises emotions benefiting from Cave and endless Texas distances, as well as a camera that does them justice as a reflection of time and a social insight into the soul of the had-working Republican class, which has nothing, banks are bullying them and circumstances force them to take one credit after another and who get from one debt to another (no other film will show you in such an illustrative and nonviolent way why America chose Trump), as a textbook of minimalist dialogs "about something", even if seemingly "about nothing", like... Well, I could continue for hours and hours in the same way. For many years, I have not seen a movie that would so skillfully blur the line between pure genre pleasure and existential festival movie. For me, it's simply an instant classic, and not just within the "Peckinpah" genre. (11/15/2016)

And the Oscar for non-stop pure redneck neo-western goes to? David Mackenzie, who has handled an uninteresting material decently, creating a swaggering retro one-off with a boisterous Jeff Bridges the way we like him and a wacky Ben Foster the way we absolutely love him. Oddly enough, it also works quite well as an interesting probe amongst working-class Midwesterners. It doesn’t have any bigger ambitions, but it’s good for a Saturday siesta. (11/19/2016)

Texas has got something about it. The Southern atmosphere drips from each shot. McCarthy’s redneck poeticism engulfs you and Cave and Ellis have the lion´s share in this. A story about two brothers and their plan to overcome adversity embodied in bank clerks. Bridges’ lines are perfect, Foster is nicely crazy, Pine intentionally minimalistic. A modern western at its best. Sometimes even a blind pig can find its way to the trough. (12/04/2016)

A modern western with everything, even with a straightforward uncomplicated story that is not stupid. And although I liked Sheridan's Wind River a little more, I have no reason not to be satisfied. The script takes great care of all the characters (even the smallest ones, such as the old man in the bank or the waitress - actually waitresses - in the restaurant), the actors are perfect, and the directing and the camera make it all great. Add the music of Nick Cave and Warren Ellis, and the fact that this whole thing has the zest of Sam Peckinpah films, and you'll understand why this isn’t the last time I will watch Hell or High Water. (12/16/2018)