Lowery also smartly embeds a clip from Redford’s earlier work The Chase into a third-act prison break montage that impressively allows the viewer to see the breadth of Robert Redford as an icon, while simultaneously achieving a level of credibility that other studios use CGI to try to attain. He does this again in a scene involving a police file of mug shots (one is a photoshopped image from The Sting), which fill the screen in quick succession and show Redford’s age wear over time in a matter of seconds, reminding us that his luscious blond hair and piercing blue eyes persevere despite the many wrinkles that may’ve sprouted. And while the film is very much “the Robert Redford show,” he meets his match in both Sissy Spacek’s Jewel and Casey Affleck’s detective Hunt.

In the case of Affleck, his character serves as the perfect counterpoint to Redford’s Tucker. Detective Hunt is not so young and getting older and fairly bored or unhappy in the tedium of police work; whereas, Tucker is a smirking gentleman who finds joy in his life of crime. And ironically, it’s not until Hunt discovers a connection between the string of bank robberies that his smile begins to turn upside down and his life begins to teem with newfound purpose. The cat and mouse play between these two characters is a joy to behold, and their storylines intersect neatly and in sometimes very humorous ways (the diner bathroom scene may be the next greatest thing to MANDY’s Cheddar Goblin).