Hell or High Water (2016) Film Review

When it comes to the ever-popular Black List survey – in which unproduced screenplays are given a chance to win over studios and executive producers – there's always a wide range of productions to be found. Whether they be Oscar-worthy like Spotlight and The Imitation Game or just plain terrible like Dirty Grandpa and X-Men Origins: Wolverine, it makes a fine home for plenty of screenwriters and projects to make their way into the world, which is what Taylor Sheridan did to bring about his project that was then named "Comancheria" back in 2012. Now, teaming up with multiple-award-winning Scottish director David MacKenzie (the man behind the likes of Starred Up and Hallam Foe), his vision is being brought to a reality with the help of the likes of Jeff Bridges, Chris Pine, and a good push of publicity over his work on the immensely-successful Sicario last year. And with touted Oscar buzz already coming off from this latest entry, not to mention the excellent box office receivings it's getting in the US, is his latest effort all that it's cracked up to be? 

Chris Pine and Ben Foster play two brothers named Toby and Tanner Howard – one a divorced father of two who's behind on his child support payments, the other a mentally unhinged former convict – who've elected to rob a string of banks around Texas; going about in the early hours of the day when there's smaller risk and only taking unpacked bills during their ventures. The reason? To pay off the reverse mortgages on the old family ranch and selling the land's oil rights to pay for Toby's sons' well-being. Being a particularly interesting crime wave due to their different nature and unhelpful townsfolk, the near-retirement Texas Ranger Marcus Hamilton (Bridges) and his successor Alberto Parker (Gil Birmingham) - whom Hamilton constantly jokes with over his native American/Mexican heritage – must figure out what the robber's plan is and where they intend on hitting next in a game of cat and mouse. With both sides having fine reasonings for succeeding in their plans, the question is whether the crooks will beat the cops, or if justice will be served.

Hell or High Water is essentially a modern day equivalent of a classic Western movie, with many a character sporting a stetson and flannel shirt whilst the sight of herding cows can be seen. But it's also within its basic premise – place events back by a century or so and make a few timely changes and you've practically got a classic cowboy tale on your hands. And with the whole thing already feeling like a classy 70s effort, complete with unresolved story aspects, it's no wonder that everyone has become so enamoured by it. Despite on the outset looking like it has a very simple and generic story to it, this instead comes across as a refreshing creation that plays with both classic and modern elements of filmmaking; amongst the robberies and investigating is plenty of good well-intended laughs alongside some heartfelt and touching moments of humanity. Whenever the film deviates towards a side-lined element such as Toby seeing his estranged family or the two rangers attending a restaurant together, it brings the human touch that so few of these heist films have, and by the time the film rolls to an unresolved close you feel satisfied.

Despite what the film's marketing campaign insists is the case, Bridges is not the lead character – this instead is bestowed upon Chris Pine, who shows that he can push himself in strong roles. His multi-layered character withholds the most humanity and is given the most to truly shine at, with his reluctance to truly partake in the crimes he commits and his strong heart towards those who actually give him a moment to talk and let some of the pressure out before his aggressive brother gets in the way. He works rally well with brother Ben Foster, who's more hands-on approach to things makes him interesting to watch. What with his distant relationship to his late mother and hypocritical nature when it comes to certain things, the fact that he's still overly protective and loving towards his brother despite his hatred towards others brings about a true feeling of familiarity. Jeff Bridges brings arguably one of his best performances in recent years, with his approach to everything making him difficult to draw yourself away from – there's even talk of potential Oscar glory for him, and it's hard to deny him that right for this role. His sidekick Gil Birmingham brings about more laughs than anything because of his excellent rapport with Bridges, but you still feel for him and take into account the more sombre moments he's in. Other side characters, which range from Katy Mixon's diner waitress to Kevin Rankin's accountant ally, all also give out good performances but are all hindered by the power of the core four individuals.

With David MacKenzie at the helm of the camera, one should from now on expect great things from what he's attached to direct, for he brings about great and sweeping images of the deserted landscapes alongside the close-handed nature of shoot-outs, casinos and robberies. The camerawork – a combination of his direction and Giles Nuttgens's cinematography – is something of sheer beauty, and when paired together with the musical score by Nick Cave and Warren Ellis creates some stunning filmmaking. For future reference, perhaps keep an eye out for MacKenzie's future endeavours. 

Hell or High Water is a film that has been touted for Oscar-level glory ever since its premiere at the Cannes Film Festival earlier this year, and whilst the jury's still out there, there's still plenty to truly adore about this film. From the overly human and surprisingly witty screenplay by Taylor Sheridan to the strong performances, such as that by the beloved Bridges, this small-time effort makes for a truly engaging and enjoyable motion picture that, come February, may turn out to be a big man at the ceremonies. 9/10. 

Café Society (2016) Film Review

Woody Allen has been in the film industry for approximately 50 years and has hardly slowed down with his output that ranges from acting, directing and screenwriting. From the outright classics like Annie Hall and Manhattan to his more recent efforts Irrational Man and Magic in the Moonlight, he's been a staple of American cinema and has remained a critical darling since those early efforts, regardless of controversies revolving around sex abuse and cradle-robbing. But with that being said, it's quite clear when one looks over his filmography that there's a constant theme of romance and relationships between family and friends – hardly a major criticism, but an element that Allen seems adamant to drift away from his formula despite 50 years of work. And his newest creation, Café Society, appears to be no different in its approach, complete with a narration by Allen and his mannerisms transferred to his new lead protégé, Jesse Eisenberg. But with that, is it another hit for the neurotic auteur? 

It's a seemingly slave-free version of 1930s America, and a young man called Bobby Dorfman (Eisenberg) is fancying a change of pace from his life in New York City, where he works for his lazy father, and opts to move to the bright lights of Hollywood where his uncle Phil (Steve Carell) works as a talent agent. Naturally, he's enforced to take Bobby under his wing, so he teams him up with his secretary Vonnie (Kristen Stewart) to show him the ropes and introduce him to the city – whom Bobby instantly falls head over heels for. Unfortunately, she's already seeing someone, but that doesn't stop Bobby from trying. Not helping the scenario though is that the person she is seeing is none other than Phil himself, who's been cheating on his wife for a year with his co-worker. Also adding to the family drama back in New York is the factor that Bobby's older brother Ben (Corey Stoll) is a gangster and club owner who'll stop at nothing to keep it running, whilst his sister and her husband (Sari Lennick and Stephen Kunken respectively) face a cantankerous and noisy next-door neighbour. With a family like the Dorfmans, can young Bobby come out on top?

Judging from that basic plotline, one can easily tell that this is an Allen production, with occasionally witty scenarios and a lead character who could have easily been replaced by a much younger Allen, had the film been made in his prime. Whilst it's disappointing that he seemingly refuses to get away from these recurring conventions, it does still make for an interesting first half of a movie, thanks largely to the chemistry shared between the two leads and Eisenberg's pitch-perfect imitation of his boss. However, once young Bobby moves back to New York in the second half, the film begins to lose its footing; forcing in a new love interest in the form of Blake Lively and suddenly bringing in a lot more focus on the familial aspect than the romance at heart. It practically stalls with its major change in focus, and when it returns to the aspects of before a lot of the heart is lost.

Jesse Eisenberg's character may be a tad obsessed with his beloved Vonnie – to the point that one would have been creeped out about these days – but he sells his neurotic character incredibly well. Despite it being just another Woody Allen-type (didn't we just get that with Sausage Party?), he gives it his all to present a fine performance. Helping proceedings is the return of his recurring beau Kristen Stewart; having played together in Adventureland and last year's American Ultra, at this stage they've practically cemented their ability to work together. And thankfully, Stewart holds her own when without her male co-star also, putting her Twilight-hating critics to shame with her work here. Steve Carell makes for an interesting and multi-layered talent agent who all but disappears during the second half (despite being a prominent figure in the first); the dual work of Parker Posey and Paul Schneider make for limited but pleasant deviations for young Bobby; Corey Stoll seems to have walked on set from a different movie but makes for an entertaining subplot; Jeannie Berlin and Ken Stott as the parents are amusing detours; Blake Lively is fine enough in an, unfortunately, limited role, whilst Sari Lennick and Stephen Kunken are adequate in their only little storyline. 

To top it all of, there's Woody Allen himself in the director and screenwriter's seat (his narration is fine, but the audio quality is a little too quiet), and he does a good enough job. It's hardly going to be remembered as one of his best works – especially when considering his long line of movies from the past that he'd never be able to top regardless of what he tries – but Café Society is still one of his better efforts. And with Vittorio Stararo - another classic filmmaker – in the cinematography chair and a classy musical score behind it, it's still a well-made production.

Café Society is not going to be remarked in the future as being a classic in the same veins as Annie Hall or Manhattan, for it is a problematic feature that loses its grip when the action moves back to the Dorfman home of New York City. But with a string of great performers and some occasional wit added to the mix, it can't be said that a visit to this 1930s-set establishment is completely a waste of time. If anything, it may be a welcome starting point for the modern cinephile to get into the works of a great, if repetitive, auteur before they get into the juicy stuff. 6/10.

Trailer Talk: A Dog's Land United

Hidden Figures

Well, this looks charming. Presenting a new look into the journey towards NASA's first expedition to the Moon whilst come across as well-timed (what with the constant barrage of news stories surrounded by racism), Hidden Figures does come across as a fine-looking film that will hardly break any new ground. Still looks worthwhile, though.

The Good Neighbour

What would happen if the modern YouTube age of pranksters got mixed up with a character which mixes together Clint Eastwood's Gran Torino and the old man from Don't Breathe? Evidently this film, which - if executed right - could create a memorable and modern story that could have real frights to it. Plus James Caan looks so unnerving.

Arrival

From an initial teaser that showed practically nothing to a trailer that delves a little too much into the entire story. While it's great that we get a look at both the language barriers and the unity of the world, and with someone as brilliant as Denis Villeneuve at the helm we're bound to have something good on our hands, but it's just a tad disappointing that this trailer has gone a slightly spoilerific route.

Same Kind of Different as Me

I think Stuart Heritage of The Guardian summed up this trailer rather well in his own editorial.

Sully

Reviews are starting to come in for this Eastwood adaptation, and practically all of them are praising the ever-excellent Tom Hanks but finding the film itself alright. With that in mind, this IMAX trailer is bringing out all the stops to show why it should be a big-big screen experience and showcases a great looking movie. Highly looking forward to it.

Kidnap

In 2013, Halle Berry made an attempt of saving the life of a kidnapped Abigail Breslin in The Call. This time, she's pulling a Liam Neeson and going after her own offspring, although this time in more of a car chase with minivans rather than fisticuffs. Yeah, this just looks corny.

La La Land

Much like Sully, La La Land is currently running through the festival circuit and the reviews are starting to fly in. And the consensus? Spectacular. Whilst I personally prefer the first trailer more, this second look still looks like a beautiful and astounding film. My biggest question is why do I have to wait until January to see it.... WHY?!

Rings

The Ring series is something of an interesting specimen. Starting off firstly as a book series of all things before being turned into a Japanese horror film in 1998, it's sparked off sequels, prequels, US remakes (and their own sequels), and recently a crossover film with The Grudge series (another Japanese hit), it's never been fully dead but has mostly just disappeared from the public limelight. But here it is once again, being rebooted by the Hollywood machine because there's still money to be made in giving it a modernised update. Filled with spoilers, this trailer offers mostly a few gory moments and a nice little revamp to the classic formula, but that's it. Nothing more, nothing less.

Manchester by the Sea

Another critical darling right now, this trailer doesn't exactly scream out "watch me" outside of the numerous quotes from proper publications that praise it for its performances and story. I'll watch it still - it's a potential Oscar contender, after all - but I'm a tad trepidatious.

My Blind Brother

Meh, another standard Adam Scott/Jenny Slate vehicle. At least the blind thing makes it a bit more noteworthy.

Lion

Slumdog Millionaire blended together with a standard "I remember my old life" story? Alrighty then. Always fond of a Dev Patel performance, and this one is getting plenty of attention, but there's not much grabbing me.

A United Kingdom

A British version of Loving? Starring Rosamund Pike and David Oyelowo? And the director of the underrated Belle? Expect some powerhouse performances with this film, as this looks just as good as Loving does. In Amma Asante we trust.

A Dog's Purpose

Nice idea; overly sappy approach. I imagine Josh Gad as a dog would end up annoying me.

Shut In

Let's be honest: I'm only looking at this sub-par trailer because of Jacob Tremblay. He's precious.

Max Steel

I know nothing about the Max Steel series, except that this film adaptation is coming from the same studios as the disliked Jem and the Holograms. Judging solely by this trailer, we should expect a similar level of tolerance - what is it with Mattel and robot sidekicks?