Get Rich Or Die Trying: Review of Hell or High Water

Hell or High Water

Director: David MacKenzie

By Alex Watson

After being screened 'Un Certain Regard' at Cannes this year, David MacKenzie and writer Taylor Sheridan have come up with a thriller that packs a punch. One on the hand a heist movie and on the other a deep story of brotherhood, Hell or High Water is a picture with both brains and brawn. While the story at the centre may take some time to wrap your head around, MacKenzie, in the end, gives us one of the strongest pictures of 2016. 

Toby (Chris Pine) and Tanner (Ben Foster) are brothers who have resorted to robbing banks to wrestle much-needed funds. When word about a series of robberies gets out, soon to be retired Texas Ranger Marcus (Jeff Bridges) is soon on their trail. Throughout it becomes apparent these brothers are just targeting any banks, they are going after the same branch. Toby is not only desperate to save his families land, but he is also thinking of what it could bring in the future too. 

Hell or High Water starts with a breathlessly calm opening where Toby and Tanner rob a bank early morning but are forced to wait for the manager to arrive. They only take small bills and hit another bank shortly afterwards. The principle reason for their heists is a smart one as Toby has inherited his families farm land but the bank is threatening to take it due an unpaid loan she took out. This land is potentially worth a lot of dough due to oil being discovered. Toby is desperate to hand this land over to his children in a trust, Tanner as a career criminal is able to assist him. Through their treks crossing the scorched Texas' plains, the brother's relationship is one that is always on the verge of exploding. Ex-con Tanner is very much the firecracker of the duo, the burden of his brother's life who will go off with the slightest jolt. Divorced Toby is the calmer and smarter of the two and his lack of criminal activity makes him the perfect sidekick. 

The moment that impending retiree Marcus gets on the trail, MacKenzie is able to inject a newer sense of comedy into proceedings. Faced with a retirement he doesn't want, Marcus scene with his Native American co-worker Roberto (Gil Birmingham) are an endless array of witty quips as he remains unafraid to tease his ethnicity. In the midst of everything so serious, MacKenzie is able to find moments that both shock and delight like when the pair finds a grumpy old waitress who demands they only eat steak and grumbles about a New Yorker who once ordered Trout in 1987. At first along with the two Rangers we are mystified about the reasons for pair hitting the same branch of banks. When the big reveal is shown, the real genius of Sheridan's script is revealed and as their lawyer, Billy Rayburn (Kevin Rankin) says "It doesn't get much more Texan than that!" Gilles Nuttgen's gorgeous cinematography of the harsh landscape makes this feeling a journey into the nether region of the soul.

The final act of Hell or High Water is a chest tightening one as Marcus closes in on the two boys. The scene watching Toby attempt to reconnect with his estranged son is awkward but for this type of drama very realistic. The real emotion comes not from their botched final robbery attempt (seriously never piss the locals off!) but from Tanner's acceptance to his final fate. All the way through their dedication to each other is nothing short of miraculous, just watch Toby happily beat some wannabe gangsters making thinly veiled threats while Tanner just sleeps nonchalantly. He may have been despised by their mother and wasted his life with all his stretches in the pen, but when it comes to protecting his kin- Tanner is exactly the brother you need. Combined with a belting original score by Nick Cave and Warren Ellis, MacKenzie's movie shines brightly. 

Chris Pine again shows just why he is fast becoming one of the stars of 2016 and as Toby, this is his strongest work. Showing a maturity and brains on screen never seen before, Pine convinces well as a desperate man looking to save his family legacy. Jeff Bridges is always electric whenever he comes on screen and his dedication to go out on top causes him an inner conflict that is glorious to watch. Unwilling to retire quickly, Marcus' dedication to the chase is often mocked by Roberto, but it's his work during the final act that really hits home as his carefree attitude is tested. Ben Foster might be an actor who doesn't always hit the mark but as Tanner his hair-trigger performance is wonderful. A man who will lose his shit at a moments notice, Foster give his character a calm yet horrifyingly casual approach to violence. 

Hell or High Water is a possibly one of the best pictures you will see in 2016 with a trio of sizzling turns and gives proof that MacKenzie and Sheridan are two of the strongest hands possible at the moment. 

The Harder They Fall: Review of The Program

The Program

Director: Stephen Frears

By Alex Watson

The Lance Armstrong scandal finally has a dramatization by Stephen Frears disappointingly refuses to dig deep. Aside from a sensational central performance from Ben Foster, The Program feels light on the ground and is often catching up to its star. Although up close we see the various ways and means to which Armstrong stayed below the radar and cheated his way to seven Tour De France titles, it just doesn't feel adequate.

Lance Armstrong (Ben Foster)  is an American rider with a good reputation for one-day events but known for being useless elsewhere. His career ambitions are dealt a blow when he is diagnosed with cancer and both his team sponsors bail. When he hooks up with crooked doctor Michele Ferrari (Guillaume Canet) he is supplied with performance-enhancing drugs that boost his ability. Seemingly effortless capturing the Tour De France and the world's heart over and over again, Armstrong is living the dream. Journalist David Walsh (Chris O'Dowd) however, is not so convinced!

Opening an exhilarating shot of our hero/villain describing the thrill and danger of cycling, the mood is caught early on. The Program does not seek to vindicate or condemn Armstrong and Frears is simply telling a tale. Starting off Armstrong is a respected but not entirely complete rider who is mocked by his future boss Johan Bruyneel (Denis Menochet). His desire fueled by his own self-doubt is a dangerous tool and when he meets Ferrari and when he constructs the Team US Postal 'Blue Train', a monster is born! Unlike most sportsmen, Armstrong was a clever beast and it does capture the media and the public joy that this once broken man is now one of the world's best.

Frears seems reluctant to add more fuel to the fire during his picture and seems to assume that everyone knows enough for it to continue. Because of this oversight, we never really know that one thing that drives Armstrong to build the perfect. His scrutiny in the media is perfectly played and Walsh is a man possessed by his desire to expose an American hero. Smelling a rat watching a man previously useless on mountain stages sail away, Walsh sees through the fabrication when others can't. It was a truth none of us wanted to face, that Armstrong could possibly betray the public's trust? Rather than retreating when the heat increases, Lance becomes a more domineering threat to his teammates and other riders "I have the money and the influence to destroy you!" he tells one rider who talks.

The Program should translate into a gritty sports drama but Frears cannot find the middle ground to make this all click. When Walsh chops away at the credibility of the arrogant Armstrong there are sparks flying. Less examined is the key relationship between him and de-facto second in command Floyd Landis (Jesse Plemons). We see a pair of brothers eventually turned against one another when Lance throws him on the scrapheap when all eyes on Floyd. Disqualified 2006 Tour winner Landis' testimony was the game changing element to Armstrong exposure. When it hits we do feel the needed fireworks, only a quiet and disappointed reflection. Lance Armstrong is not made out to be a complete villain and his a unique mix of determination and cunning. There are flickers of compassion such as his visit to a cancer hospital which feels moving. When you live the ultimate fairy tale, don't expect a storybook ending.

Singlehandedly Ben Foster is the movie's yellow jersey and gives a fearless performance as Armstrong. Portraying him as a restless soul yearning for the ultimate prize, he gives the formal ideal and wonderful scrambled morality. Willingly taking the ultimate risk, he shows the Texan's growing confidence in his ability to convince others to follow. Easily a career for Foster and you cannot think of a better choice. Chris O'Dowd matches Foster well as the fiery David Walsh and his growing dismay at watching this man destroy the sport he loves is glorious. An equally hungry man, Walsh has the bit between his teeth when he looks to expose a fraud. Guillaume Canet also deserves credit for his underused role as the charismatic cheat Michele Ferrari.

The Program is a picture that should have been far more but based on Foster's performance and the sheer controversy of its subject it sufficiently entertains.

In The Heart Of The Sea: Review of The Finest Hours

The Finest Hours

Dir: Craig Gillespie

By Alex Watson

If you are looking for a middle of the road rescue thriller then The Finest Hours may just be the picture you are looking. This picture is a solid effort from director Craig Gillespie that offers some decent thrills to mask its lack of depth. The efforts of four men to save dozens in a little known but frankly remarkable rescue make for a great subject, it's just a shame it's in the wrong hands. Although it entertains well, this picture will be unlikely to stick in your mind after the credits roll.

Bernie Webber (Chris Pine) is a member of the Coast Guard in Chatham, Massachusetts but he is soon brought into an event that could have fateful consequences. The oil tanker 'The Pendleton' has been split into two in the rough ocean and the surviving crew led by Ray Sybert (Casey Affleck) are clinging on for dear life. Despite feeling a reluctance, Bernie along with other crewmen Richard Livesey (Ben Foster), Anthony Fitzgerald (Kyle Gallner) and unprepared Seaman Ervin Maske (John Magaro) go forward into the great unknown.

The need for survival is one aspect that is made obvious in The Finest Hours and smartly Gillespie opts to keep his heroes low key. Bernie is an ordinary and slightly nervous guy who is set to marry his sweetheart Miriam (Holliday Granger) but by Coast Guard Regulations he has to ask permission. Sadly although we like the guys in the boat, we never properly get to know them. There is a talk of a failed rescue mission that put strains on several community members but full details are never really disclosed. Likewise with the men of the Pendleton, Sybert and co fit the usual ship stereotypes with the unsocial leader and the gruff and tough veteran (Graham McTavish). Gillespie fails to understand that to connect with a drama like this we need to our crew.

After a lot of back and forth huffing by commander Cluff (Eric Bana), the crew is sent out into hell, despite the locals assurance that they will not return due to the harsh conditions. The men's bravery is something to admire and as Bernie denotes "They say you have to go out, they don't say you gotta come back!" Gillespie invests too much of the movie back on land watching the men spout their nautical speak when the picture is crying for something larger. The men of Pendleton, however, have an equally bleak task of keeping a heavy ship from sinking below. Gillespie's enthusiastic camera work glides through the different layers of the ship and we get the sense that time is being borrowed.

At sea is where The Finest Hours feels most comfortable and the action here gives events a real spark. Heading into choppy waves and surrounded by 60 MPH winds, the task seems impossible but through the excellent cinematography by Javier Aguirresarobe, it gives sufficient thrills. Their tiny boat battles continuous rolling waves while the Pendleton struggles to keep their heavy wreck afloat. Even though they keep getting told to give up, Bernie and co show a strength that is heartwarming. It seems incredible that a 36-foot boat was able to achieve such a task when on other days it could have perished. Gillespie keeps us well entertained but this kind of heroism deserves more fitting treatment.

Chris Pine again proves to be a capable and likeable lead as Bernie Webber, although this time he is free of the cocky heroism we have to expect from him. Playing his character as a troubled but coping sailor, Pine is able to stamp his characters authority when most needed. Though this role doesn't feel like one that tests his ability. As the emotionally vacant Sybert, Casey Affleck is by far the standout performer. Unattached from his crew because he needs to act not argue, Ray resorts to erratic measures to assure safety for his men and through Affleck he feels most believable lead of the bunch.

Craig Gillespie does a solid job on The Finest Hours but unfortunately, he is unable to raise this past being the standard Disney thriller. In places, this story entertains but it is not one of the memorable efforts you will see in 2016.