HELL OR HIGH WATER Review

Hell or High Water opens with a 360° shot of a small, West Texas town that is more or less deserted. Panning what looks to be one of the main roads through town the audience is meant to note the several for sale signs, the others offering loans, and most prominently a piece of graffiti that states, "3 tours in Iraq, but no bailout for people like us." Hell or High Water immediately tells us its stance on the story it will be relaying in that it concludes this opening, single take with two masked men entering the small town's bank and requesting only loose bills, no stacks or, in other words, the banks money and not the peoples. In this expertly crafted opening sequence director David Mackenzie (Starred Up) displays a knack for visually highlighting exactly what he wants us to focus on. Beyond the visual style Mackenzie adopts for this story that captures the flatlands of West Texas and its expansive plains in gorgeous hues is his adeptness at capturing the necessary atmosphere to complement the specific kind of tone which naturally influences the overall mood of his film. In short, everything falls into place perfectly with the pacing of the picture which is as close to a perfectly paced film as anything I've seen this year. We are thrown into the action of a bank robbery that is quickly undermined by the inherent humor that comes from human interactions while noting specifically the mentality of these Texans in which the movie will very much hang its trust and pride. The setting is established, the framing of this setting's attitude and character is made apparent, and only then we are introduced to the men behind the ski masks-brothers Tanner (Ben Foster) and Toby (Chris Pine). As with the setting we can see who these two brothers are from very early on. Foster's Tanner is the free-wheeling, living in the moment sort that will take whatever action makes him feel good whereas Pine's Toby lives more by a moral code with his eyes firmly planted on the end goal rather than what feels best in the moment. Toby doesn't like to deviate from the plan, but Tanner couldn't be more primed to be unreliably ecstatic as he's just been released from prison less than a year prior to the events we're seeing. It is in these two characters that Hell or High Water finds its most valuable assets; relaying its many ideas through the guise of two desperate men sticking it to the man.

MINIONS Review

Minions, while inherently funny is wholly insignificant and unnecessary. For parents, Minions will be ol' reliable, for children who enjoyed the Despicable Me films it will be what they've been waiting for, but in terms of the actual quality of the product it couldn't be more vanilla sans for the ridiculous amounts of innuendo and subtext these guys are able to get away with due to literally half of the dialogue in the film being unintelligible. At the very least, I guess this flick might open up the idea to children that watching foreign films can't be all that bad as with those you are at least given subtitles whereas with Minions one has to count on interpretation of tone and inflection to elicit the intended comedy. The thing is though, and this became apparent in the Despicable Me sequel, is that it seems the folks behind these colorful fun fests are forgetting the minions are not only inherently funny, but inherently sidekicks despite the fact this film, their own feature, is about them seeking out a boss to serve. If the minions only goal in life is to function purely as sidekicks it only seems fitting they would remain in that role in any movie they might appear in, but when a movie only happens because the first was a surprise hit and the multiple sequels and spin-offs are concocted more because the iron is hot rather than there being any actual ideas of value you're going to run into such dilemmas. When the small Illumination Entertainment company scored a $540 million hit with the original film and it's sequel notched nearly a billion worldwide three years later you better believe they were going to milk this now-franchise for all it's worth. The minions instantly became cultural mainstays and so I understand why a feature of their own was ultimately inevitable, but it doesn't mean it makes any more sense. Get what I'm saying? They are sidekicks, they are good in small portions, but a little bit of these little yellow creatures goes a long way and in giving them a feature length film things have simply gone overboard as the weight of an entire narrative on the back of a character created purely for comic relief is too much for them to carry.

First Trailer for MINIONS

I've said it before and this will no doubt be the last time, but I always feel the spin-off is a cheap way to over-extend something that worked unexpectedly and is now being mined to death. With Despicable Me 2 becoming a bonafide worldwide smash last summer though and the third film not coming out until 2017, Illumination Studios was quick to capitalize on the popularity of Gru's minions and give them their own feature. Now, while I, like most people in the world, enjoy the minions and their shenanigans while trying to assist their criminal mastermind leader-giving them a whole feature to themselves initially felt like a bit much. They are great as supporting players, as comic relief, but to be the stars is to ask the question of how much will they overstay their welcome? With the first trailer for next summers easily titled Minions, directors Kyle Balda (The Lorax) and Pierre Coffin (Despicable Me 1 & 2) have taken us back to the beginning of life on earth and seem to have delivered the origin story of these little yellow creatures that influenced a fair amount of events throughout history eventually leading them to New York City in 1968 where the lore of these Igor-inspired servants becomes much deeper and more entrenched in villainy. I am always cautious to the idea of spin-offs or any piece of entertainment that feels specifically manufactured for the sole purpose of exploitation and profit, but darn if the film doesn't look like it will deliver the goods. Minions features the voice talents of Sandra Bullock, Jon Hamm, Katy Mixon, Chris Renaud, Steve Carell as well as Coffin and opens on July 10, 2015.