PUFF: Come Hell or Highwater

Watching Todd E. Freeman’s Come Hell or Highwater is like getting a large, mediocre tattoo: it’s bloody and repetitive, it takes all night, and it’s not nearly as artistic as you’d hope. Cops and killers chase and shoot each other on scratchy film stock, with long stretches of staring into the camera, visitations from dead characters, and dialogue boiled past the point of cliché. Lacking any kind of kinetic energy, the film feels like it wants to be a series of stills or a graphic novel, rather than an actual motion picture.

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