Taylor Sheridan has become synonymous with hit TV series like Yellowstone, Tulsa King, and Landman. His ability to weave intricate plots, develop complex characters, and keep viewers on the edge of their seats has made him one of the most respected names in television. However, it’s easy to forget that Sheridan’s career began in the world of filmmaking. While his TV shows have found immense success, his early work in feature films—especially the neo-Western Hell or High Water—proves that he’s a brilliant filmmaker who should consider returning to cinema.
In this article, we’ll explore why Hell or High Water is a standout example of Sheridan’s filmmaking talent, how his skills as a writer might be even more suited to movies than TV shows, and why we could all be missing out on more of his films.
Taylor Sheridan’s Impressive Filmmaking Journey
Before Yellowstone became the cultural phenomenon it is today, Sheridan was making waves in the film industry. His first big-screen hit, Sicario (2015), was a tense, gripping thriller that showcased his skill at blending action with social commentary. From there, Sheridan wrote a string of critically acclaimed films, including Hell or High Water (2016), Wind River (2017), Those Who Wish Me Dead (2021), and more. While his movies often feature gritty, real-world issues, they all share a focus on human resilience, moral ambiguity, and the rough edges of society.
Sheridan’s transition into television was a natural next step, but many fans still wonder if he might one day return to filmmaking. This is particularly evident when examining Hell or High Water—a film that highlights his mastery of the neo-Western genre and his uncanny ability to write concise, impactful narratives.
Why Hell or High Water Is a Masterclass in Sheridan’s Filmmaking Talent
Released in 2016, Hell or High Water tells the story of two brothers, Tanner (Ben Foster) and Toby Howard (Chris Pine), who embark on a series of bank robberies in rural Texas. Their goal? To save their family’s ranch from foreclosure and secure a better future for Toby’s children. Hot on their heels is Marcus Hamilton (Jeff Bridges), a Texas Ranger near retirement, who is determined to stop them.
The film is packed with sharp dialogue, intricate character development, and stunning cinematography. In just 102 minutes, Sheridan captures a modern-day Western that explores themes of poverty, justice, and the American dream—issues that resonate deeply with audiences today.
The Perfect Blend of Pacing, Plot, and Character Development
One of the most notable aspects of Hell or High Water is its impeccable pacing. Sheridan wastes no time setting the stage, and within minutes, viewers are introduced to the characters’ motivations, relationships, and personal struggles. Toby’s mission to save his ranch is personal, driven by the desire to break free from the cycle of poverty that has plagued his family for generations. Meanwhile, Tanner’s reckless behavior contrasts sharply with Toby’s more calculated approach, creating tension that propels the plot forward.
The film’s ability to develop its characters in such a short amount of time is a testament to Sheridan’s skills as a writer. Within minutes, we understand the complexities of the Howard brothers’ relationship, the deep bond they share, and their shared sense of desperation. Similarly, Marcus Hamilton’s journey is just as well-rounded. As a grizzled, world-weary Ranger, Hamilton’s personal struggles with aging and retirement are subtly woven into the narrative, adding layers to his character and motivating his relentless pursuit of justice.
The beauty of Hell or High Water lies in Sheridan’s ability to balance character-driven storytelling with a broader social commentary. The film critiques the American banking system, corporate greed, and the cycle of poverty that many families face in rural America. Yet, it never feels preachy or heavy-handed—Sheridan lets the story unfold organically, allowing the audience to draw their own conclusions.
A Neo-Western for the Modern Age
Hell or High Water is a neo-Western, a genre that blends the classic Western themes of lawlessness, morality, and survival with contemporary issues and modern settings. This genre allows Sheridan to tell stories that feel both timeless and incredibly relevant.
The film is set in rural Texas, where the echoes of the Old West are still felt. The Howard brothers, in a sense, are outlaws fighting for survival in a modern world that has left them behind. The banks they rob are emblematic of the corporate forces that control people’s lives, making it clear that the real enemy isn’t just the law—it’s a system that preys on the disadvantaged.
Marcus Hamilton, meanwhile, represents the old guard—he’s the last of a dying breed of lawmen, struggling to adapt to a world that is changing around him. The push and pull between these two characters—Toby and Tanner trying to break free from the system, and Marcus trying to maintain the law—is what makes Hell or High Water such a compelling watch.
Sheridan’s Talent for Movies vs. TV: Why He’s Better Suited for Film
While Taylor Sheridan has made an undeniable mark on television, his skills as a filmmaker might actually be better showcased in movies than in TV shows. There are several reasons for this, primarily his ability to write lean, focused, and efficient narratives. Let’s explore why Sheridan’s talents as a filmmaker shine even brighter in movies.
Movies Offer a Leaner, More Focused Narrative
One of the defining features of Hell or High Water is its pacing. At just 102 minutes, the film tells a tight, compelling story with no filler. Sheridan’s writing works best when it’s concise and efficient, and movies, by their nature, are the perfect medium for this style. In comparison, TV shows often require extended character development and more plot threads, which can sometimes lead to pacing issues or unnecessary filler episodes.
For example, in shows like Landman or Tulsa King, some characters and subplots can feel slow to develop, especially in the early episodes. This is a result of the episodic format, which requires shows to stretch out storylines to fill an entire season. In contrast, Hell or High Water gets straight to the heart of the matter, delivering a gripping, emotional, and satisfying narrative in under two hours.
The Power of Standalone Stories
Another reason Sheridan’s movies may be better than his TV work is the power of the standalone story. Movies like Hell or High Water don’t require viewers to commit to multiple seasons or episodes to see the story unfold. Everything is wrapped up in a single film, making it easier for Sheridan to craft a complete narrative that leaves a lasting impact.
In television, the episodic nature of shows can sometimes make it difficult to deliver the same level of emotional resonance or payoff. While Sheridan’s shows like Yellowstone certainly deliver satisfying arcs, there’s something special about a self-contained movie that leaves no loose ends.
Will Sheridan Ever Return to Filmmaking?
While it’s clear that Taylor Sheridan’s talent as a filmmaker is undeniable, it seems that his focus is currently on television. Sheridan’s lucrative deal with Paramount has him tied to creating original TV series through 2028, making it less likely that we’ll see him return to filmmaking in the near future.
However, there is hope. Sheridan still has the option to shop original movies to third-party buyers, and there are rumors that his upcoming project, Empire of the Summer Moon, could be a film rather than a TV series. While the details are still murky, it’s exciting to think that Sheridan might return to the big screen with another feature film that captures the same grit and raw emotion as Hell or High Water.
Sheridan also owns the 6666 Ranch in real life, which he uses as a backdrop for Yellowstone and its spin-offs. The financial demands of maintaining the ranch could potentially motivate him to return to filmmaking to cover those costs, creating an opportunity for him to step back into the cinematic world.
Conclusion: Sheridan’s Film Legacy Deserves More
Taylor Sheridan’s work in television has been groundbreaking, but his contributions to the world of film should not be forgotten. Hell or High Water remains one of his best works, and it serves as a reminder of just how talented he is as a filmmaker. Sheridan’s knack for tight, engaging narratives and complex characters could certainly be put to use in more feature films.
As fans eagerly await his next project—whether it’s a new season of Yellowstone or a potential return to filmmaking—we can only hope that Sheridan will one day make his long-awaited return to cinema.
