Robbing banks, then hiding casino stash. Long years protecting the peace, calm in sight, not quite done. Decisions regarding law and order, whether to eat or starve; when a reason proves forthcoming, the box breaks apart. What looked wrong on the outside appears justified underneath.

Heavyweight performances from Chris Pine and Ben Foster as brothers/faithful thieves; the latter reckless, the former thoughtful. Will their paths converge with Jeff Bridges’ dedicated cop?

For this badge-and-uniform role, Bridges teases partner Gil Birmingham over an Indian heritage. There’s potential racism sparked by humour; a genteel tone disarms the flame. So no acid from this bottle.

Dialogue you can quote on the fly, remembering instantly thanks to Taylor Sheridan’s hearing. He picks up on easy-going cadences, judging reactions against a tide of feeling.

By Giles Nuttgens’ camera, the landscape ponders man’s virginal state. It’s an environment almost pre-history in its cleanliness. Purity owes something to adventures not yet drawn, while destiny breaks by the afternoon sun.

Crackerjack direction from David Mackenzie contains blue-bottle fancies regarding struggle vs. reward. Cite The Town or Heat for easy genre principles. Then add the Western legacy via a road movie envelope… now Hell or High Water can truly stand on bottomless feet.

(Released by CBS Films and rated “R” for some strong violence, language throughout and brief sexuality.)