Film
Hell or High Water
Two broke Texas brothers rob small-town banks that are about to foreclose on their family's land, while a retiring Ranger and his partner close in. Taylor Sheridan's script turns a heist chase into an elegy for a vanishing rural economy — sun-bleached, unhurried, funny in flashes, and quietly devastating by the end. For anyone who wants their crime story to feel like it means something about the country it's set in.
If you liked this
No Country for Old Men2007
The Coens' Texas crime landscape is the direct ancestor of this film's stillness and dread — same flat horizons, same sense that violence arrives without warning or reason.
But Bleaker and more nihilistic, with an ending that refuses catharsis entirely.

Wind River2017
Taylor Sheridan again, this time directing his own script — another quiet, furious portrait of America's forgotten edges, this time a Wyoming reservation in winter.
But Grimmer subject matter and a much heavier emotional weight throughout.

Sicario2015
Sheridan's border-crime script swaps bank robbers for cartel warfare, but the moral murk and the sense of institutions failing ordinary people is identical.
But Colder, more procedural, and less interested in its characters as people.

The wildcard
Something you would not have found on your own.
Bonnie and Clyde1967
Hell or High Water is explicitly working the same vein — crime as a response to systemic economic ruin — just decades later and further west. This is where that story started.
The Depression-era template for this whole story: two outlaws made by poverty, chased by lawmen, glamorous and doomed in equal measure.
But Fifty-plus years old, with a stylised violence and pacing that feels distinctly of its New Hollywood moment.

More like this (8)
Winter's Bone2010
Rural poverty as a slow-burn thriller — a teenage girl navigating a criminal family economy in the Ozarks with the same unflinching, unglamorous eye.
But Even more austere and short on the dry humour that lightens Hell or High Water.

A Simple Plan1998
Brothers, found money, and a scheme that curdles fast — a tense study of how desperation and loyalty pull decent men toward ruin.
But Snowbound Minnesota instead of Texas heat, and a tighter, more claustrophobic thriller structure.

Ozark2017
A family drawn into crime by economic necessity, set against the decay of small-town America — the same engine stretched across a slower-building serialized story.
But Multiple seasons is a much bigger commitment than one lean feature.

The Place Beyond the Pines2013no page yet
Another film about brothers, fathers, and crime as inheritance, spanning generations to ask what desperation passes down through families.
But Structurally more ambitious and fragmented — three linked stories rather than one clean chase.
Killing Them Softly2012no page yet
Low-level crooks and hitmen against a backdrop of the 2008 financial collapse — the same idea that economic rot breeds violence, delivered with sharper dialogue.
But More cynical and talky, with less warmth toward its characters.
Logan Lucky2017
A lighter, funnier heist among working-class Southerners who need the money — good company if you want the setup without the grief.
But Played for comedy and caper thrills rather than tragedy, so it lands much softer.

Logan2017
Same washed-up-man-versus-a-dying-country structure and even the same genre lineage (Sheridan and Logan's director both cite classic westerns), just filtered through superhero costume.
A superhero film that plays as a straight elegiac western — an aging, damaged man protecting family in a depressed, hollowed-out America, gunslinger instincts intact.
But Comic-book violence and mutant mythology will be a hard sell if you want realism.

American Factory2019
Strip away the heist and Hell or High Water is a story about what happens to communities when the economy abandons them. This is that story, unstaged and true.
A documentary following a shuttered GM plant reopened by a Chinese company — real people, real desperation, no crime plot required to feel the same ache.
But No thriller mechanics at all — this is patient, observational, and slow by design.

People
Cast
Jeff BridgesMarcus Hamilton
Chris PineToby Howard
Ben FosterTanner Howard
Gil BirminghamAlberto Parker
Marin IrelandDebbie Howard
Kevin RankinBilly Rayburn
Dale DickeyElsie
William SterchiMr. Clauson
Kristin K. BergOlney Teller
Katy MixonJenny Ann
Buck TaylorOld Man
Keith MeriweatherRancher
Directing
- David MackenzieDirector
- Jean-Paul ChrekyScript Supervisor
- John NavarroScript Supervisor
Writing
- Taylor SheridanWriter
Production
- Jo Edna BoldinCasting
- Richard HicksCasting
- Chris RedondoCasting Associate
- Marie A.K. McMasterCasting Associate
- Dylan TarasonCo-Producer
- Kathryn DeanCo-Producer
- Mark MikutowiczCo-Producer
- Braden AftergoodExecutive Producer
- Gigi PritzkerExecutive Producer
- Jim TauberExecutive Producer
- John PenottiExecutive Producer
- Michael G. NathansonExecutive Producer
- Rachel ShaneExecutive Producer
- Carla HackenProducer
- Julie YornProducer
- Peter BergProducer
- Sidney KimmelProducer
Recommended by
Longmire, Justified, No Country for Old Men, Winter's Bone, Smoke Signals, Logan, Sicario, Cartel Land, Wind River, Logan Lucky, True Grit, 3:10 to Yuma, Widows, The Rider, Hud, The Assassination of Jesse James by the Coward Robert Ford, The Rivals of Amziah King, Lean on Pete, Godless, True Grit, Three Billboards Outside Ebbing, Missouri, News of the World, Killers of the Flower Moon, Blue Ruin