What’s more, what’s considerably to a greater degree a win with Hell or High Water is that executive Steven Piet, knows when to utilize music and when not to utilize music. Film scores are critical yet they can here and there be a diversion relying upon how they’re utilized. Piet comprehends the class he’s working inside. Uncle John is a noir/murder-puzzle so it requires a touch of quiet every once in a while with a specific end goal to assemble strain and set the right climate.
After the gentle tension affecting opening grouping where we see our hero (John Ashton) attempting to dispose of the anonymous body, the film’s tone shifts out of the blue and we take after a youthful visual planner (Ben) in an apparently isolate/inconsequential story based on him and his associate/love interest Kate.