Hell or High Water

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. (16/12/2018)

A decent old school robbery crime drama that builds mainly on a desert atmosphere and a trio of great actors. Ben Foster is classically nutty, Chris Pine is excellent as usual, he's been picking decent films lately, and Jeff Bridges was perfect for the role of the Texas sheriff. I wasn't bored for a moment, it's just a pity that there is no gore at all, which would have been useful here, otherwise great. 80% (22/11/2016)

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. (11/01/2017)

A pure post-western that doesn't remember the old days fondly, but laments the misery of the present, which doesn't favor cowboys. It’s a wistful tale from the borderlands that reigns in its casting and pure direction. However, the theatrical standing on the porch with a beer in your hand and philosophy on your lips is perhaps too much at times. (15/01/2017)

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. (20/11/2016)