A big rowdy comic book movie, Hell and High Water is far from great cinema, but it does pack a punch that devotees of Cold War flicks and/or director Samuel Fuller will certainly appreciate. As the director himself admitted, Hell is not one of Fuller's greatest movies, but it still has his two-fisted signature on every frame. Fuller knows how to make action, and how to frame conflicts the way he wants them, and Hell benefits from that expertise; the script is often ridiculous, but Fuller ignores that and pretends it all makes sense, and if anybody starts to complain, an entirely appropriate yet stunning tracking shot or deliciously powerful rapid-fire edit sequence will appear to reel them back in. Although the special effects work is sometimes primitive by today's standards, Fuller still makes great use of submarine models to create a gripping chase between two subs. The director is helped in his efforts by star Richard Widmark, whose ability to credibly project both cynicism and heroism is crucial to Hell's success. Widmark carries a great deal of the film, especially since leading lady Bella Darvi adds little to the proceedings beyond a pretty face. Fortunately, David Wayne, Cameron Mitchell and the rest of the supporting cast make up for Darvi's deficiencies. Hell's screenplay is too full of holes and too weak on characterization and dialogue for the film to rise above average, but Fuller and company make it a good "Saturday afternoon" pic.