And somehow, as it transitioned from a limited opening to a wide release over the weekend, in a landscape dominated by superheroes and foul-mouthed sausages, this critically praised, minor-key gem has slowly emerged as the unlikely sleeper hit of the summer. films to genuinely wow audiences at this year’s Cannes Film Festival. But gracefully nestled within this gritty nugget of Lone Star pulp is a story about fraternal bonds (blood-related and otherwise), social commentary about the way our financial system fucks over the little guy and the sense that certain things are coming to an end - both the ability to live with dignity when the game is rigged and the myth of the American West. (You can catch the shot at the 43-second mark in the trailer below.) It’s a crime thriller about brothers holding up small banks, updating a tried-and-true B-movie narrative about robbers on the run and the men trying to catch them. When you see the image Pine is talking about, which appears a little past the midway point or so of Hell and High Water, you understand why it might help him find the mood of the movie’s mournful take on living and dying in the closest thing we’ve got to a modern wild frontier, i.e. It was sort of the movie, to me, in one shot.” But I kept thinking about it, and every time I was ‘getting into character,’ I pictured that. It was really evocative for me … I’m not sure why. “I just kind of got into my brain after I read the script. Both are sort of staring out in the distance while the sun’s going down.” He stops for a second, then continues. One of them is sitting, the other is standing, kind of leaning on one of the porch’s columns. “It was two guys on a porch, real rustic. “I had this picture in my head,” the 35-year-old actor recalls, his voice echoing over a speakerphone from Austin, Texas. Chris Pine kept fixating on a single image.
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