Hell or High Water

First Hit:  Very well acted Texas Ranger crime story that evokes the old west while resolving a modern day problem.

Brothers Tanner and Toby Howard (Ben Foster and Chris Pine respectively) are two bank robbers who clearly have a plan. During the robberies they take only loose cash, only what is in the teller drawers, and only from the small Mid-Texas Midland Bank branches.

As the story evolves the audience learns how Tanner has been a trouble maker his whole life while Toby has been walking the straight and narrow path. So why are they doing this? We eventually find out and that is what makes this story work. Because the amount of money they are taking are small, the FBI isn’t interested in finding the robbers, so the Rangers get the assignment.

Marcus Hamilton (Jeff Bridges) is a near retirement Ranger who is a little long in the tooth while being old time smart and is very loyal to his job. His partner, Alberto Parker (Gil Birmingham), is a younger man who is also Indian. The running jokes in the film is that Marcus cannot help himself about making racist and pointed jokes about Alberto’s heritage. However, the audience also sees the love and respect Marcus has for Alberto. In the pursuit of the robbers the audience learns about each of the characters and the story of the ranch Tanner and Toby are trying to save.

The script does a great job of defining the characters and letting the story unfold.

Pine is wonderful as the thoughtful smart brother who finds a way to help his family. Foster is perfect as the on-edge bad-boy brother who wants to help and support his brother. Bridges embodies the old west in the new world with this role. He’s amazing. Birmingham is fantastic as Bridges’ partner. A shout-out to Margret Bowman who plays a waitress in a restaurant. Her 2 minutes on the screen were brilliant. Taylor Sheridan wrote a very strong script. David Mackenzie did an excellent job of directing the actors through this story. The small Texas town feel was very well done.

Overall:  This was a very entertaining film.

The Infiltrator

First Hit:  Tension begins early and stays through to the end of the film – well done.

The setting is the 1980’s. Columbian cocaine is pouring into the United States through Florida.

The US Government is doing what it can to stop the flow of drugs. Nancy Reagan’s “Just say no” campaign was in full bloom and most of the U.S. Customs department’s war on drugs was to follow the flow of the drugs.

One of Customs’ best agents Robert Mazur (Bryan Cranston) thinks that a better way to get to the top of the cartel was to “follow the money”. He and his partner Emir Abreu (John Leguizamo) set themselves up as a company with bank money laundering connections. Mazur takes the alias of Bob Musella. The way these two find their way to the right banking and cartel connections is filled with tense scenes made only better by the acting, especially by Cranston.

One thing that struck me was the complicated way things came together. There were a lot of characters and plot elements, however, I felt like it how a real life setup might unfold.

For instance, during a conversation with a cartel member in a strip club, Musella said he was engaged. He did this because he didn’t want to partake in a sexual encounter and he was fully committed to his wife Evelyn (Juliet Aubrey). Stating he was engaged required the U. S. Customs agency to set him up with a finance. His hard line boss Bonnie Tischler (Amy Ryan), selects a newly minted agent Kathy Ertz (Diane Kruger) which created its own level of tension and concern because she had no experience.

The film and scenes we’re not done in a highly slick manner, which worked for me because otherwise would have made the film appear too staged. Where Ertz and Musella worked best was during the scenes to develop a relationship with cartel member Roberto Alcaino (Benjamin Bratt) and his wife Gloria (Elena Anaya).

Cranston was really strong in this role based on a true story. His ability to create tension for his life and his family’s life was palpable. Leguizamo was perfect as his partner that seemed the on edge of being a really smart and partially unhinged. Ryan was perfect as the hard-line female Customs boss. Kruger was wonderful as the undercover fiancé. Bratt and Anaya were very strong as major components of the cartel. Ellen Sue Brown wrote a very strong script. Brad Furman did a wonderful job of making the film work by not making it too slick.

Overall:  This true story from the Eighties was well represented 30 years later.

Central Intelligence

First Hit:  Silly, irreverent, and definitely fun to watch.

Dwayne Johnson and Kevin Hart, separately, have both shown their comedic skills in films. Together they are even better.

The physical size differences between them only adds to the dynamics of their dialogue. The story is rather silly and without a lot of merit, however it makes little difference because the film is enjoyable by their interaction and the palpable fun they had working together.

Basically, Calvin Joyner (Hart) was the high school star and most likely to succeed. Marrying his high school sweetheart Maggie (Danielle Nicolet), he settled into a life of being an accountant. He’s disappointed in that he failed to succeed the way he had envisioned.

Bob Stone (Johnson) was the fat kid whom everyone picked on in high school and when he’s embarrassed by kids at a school function, it is Calvin that has his back. Many years later Bob has lost the weight and has become, well, The Rock (Johnson’s WWE wrestling name). He also works for the CIA and enrolls Calvin to help him solve a case. They are hilarious together.

Johnson is fabulously funny. He’s got a great persona and knows how to leverage his size, personality, and the wink to make it all work incredibly well. Hart is his maniac hyper active self, spewing out comedic twists of dialogue. He’s fun to watch and its better when he’s paired up like this. Nicolet was good as Calvin’s strong supportive wife. Amy Ryan was very good as the CIA boss who was after Stone and Joyner. Ike Barinholtz, David Stassen, and Rawson Marshall Thurber wrote a strong comedic script. Thurber did a wonderful job directing these two dynamic characters.

Overall:  If you want to sit back and enjoy some irreverent humor, then see this film.

Holmes

First Hit:  A slow meandering beginning that builds momentum towards being a more interesting film at the end.

This film is about forgiveness, aging, kindness, facts and uncovering the real story of Sherlock Holmes.

We meet Sherlock (Ian McKellen) when he’s 93 years old. He’s retired, has difficulty remembering things, his housekeeper Mrs. Munro (Laura Linney) and her son Roger (Milo Parker) are his only touch with the outside world.

He thinks that Mr. Watson reimagined his detective exploits into interesting books/stories. He’s hung up on his last case, what happened, and why he quit being a detective.

The film traces brief memories of what happened and when we do the film transports us back to that time. McKellen plays both parts and it almost works. Him being the doddering forgetful old man and the younger Sherlock who is logical and only thinking about and using the facts to deduce his actions. When he realizes the times in his life he could have been more compassionate, the film softens and lands beautifully.

McKellen was great as a 93 year old man whose faculties are failing him. His covering up his forgetfulness (looking at his sleeve for the boy’s name) juxtaposed with the times he’s feeling full of himself (swimming with Roger) was really good. Linney did great in a very restrained role where she eventually embraces her lot as Holmes rewards her loyalty. Parker was very strong as the curious, inventive, thoughtful, and independent boy and friend of Holmes. He was the best part of the film. Mitch Cullin and Arthur Conan Doyle wrote a up and down script, which at times was too doddering. Bill Condon did a great job of sharing the beautiful English countryside and some of the interior shots were very effective. The story was too slow to start which I think he could have made different.

Overall:  A strong good film, but not in the upper echelon.

A Bigger Splash

First Hit:  This film lacked clarity of purpose partially because the actors and characters weren't well mixed in this uninteresting story.

The film starts with the illusion that Tilda Swinton (as Marianne Lane) is a middle age rock star still able to bring in stadium full audiences.

Attempting to convince the audience through brief clips of a stadium filled with rock fans, the band on the stage, and Lane, with a black wig, comes out to the microphone was inadequate. We don’t hear her sing nor do we hear her music.

This lacked credibility, and Swinton’s look and presence didn’t carry the energy of a stadium filling rock star. The audience is asked to take this at face value, what makes this worse is that we do not get to hear her speak because she’s just had throat surgery and isn’t supposed to speak so her character's story is limited.

Because she has these two strikes against her, it is like the old saying, "two wrongs to make a right". She’s vacationing with her husband Paul (Matthias Schoenaerts) at some unknown rural (possibly Mediterranean) location where the village is small and population sparse.

Unbeknownst to Paul and Marianne, her old boyfriend and former music producer Harry Hawkes (Ralph Fiennes) is coming to visit them. Harry talks all the time and he’s full of hyper energy, takes over every conversation, and makes a big scene everywhere he is.

Although Marianne is more interested in seeing Hawkes, Paul,  even though he and Harry are lifelong friends, doesn't. Overall, it appears they’d rather not have him as a guest, but no one stops the madness. The madness begins at one of the first scenes when they pick him up at the airport by surprising them by bringing his underage unknown daughter Penelope (Dakota Johnson).

The rest of the film attempts to extrapolate each of their personalities given their restricted behavior. However, I never felt that their relationships with themselves were real or flushed out, nor were their connections with each other valid. One of the few good scenes was Harry’s lip-syncing and dancing to the Rolling Stones' classic song “Emotional Rescue”.

One of the more painful scenes was the horrible karaoke singing and dancing by Harry and Marianne in a local bar.

Swinton was miscast in this role because there is just no way she resembled or acted as a stadium rock and roll star. Adding to this that she wasn’t supposed to speak, which added to the difficulty in making her believable. Fiennes was also miscast as there is no way he could pull off being this obnoxious, unthinking, arrogant, producer. He carries too much integrity and therefore it didn’t work. Schoenaerts was good and the best part of the film. His character was believable as a brooding, somewhat depressive, friend and mate of Harry and Marianne respectively. Johnson was mediocre as the young girl who was manipulative and questioning of her father and his friends. She didn’t make me believe her as a seductress – it was way to obvious. David Kajganich wrote a very mediocre screenplay that didn’t really dive into the characters and their history. Every setup of the character's history seemed too overt and lacking curiosity. A film audience needs to be curious about the characters. Luca Guadagnino directed this and probably made the most of the story as written. The casting was, for the most part, poor.

Overall:  I was bored by the story, actors, and the way this film unfolded.