Adapted from Scott B. Smith’s 1993 novel, “A Simple Plan” tells a gripping tale of three men in Minnesota whose lives are irrevocably changed by the discovery of a crashed private plane concealed in the snow. Drawn into a moral quandary by a different kind of malevolence in the woods, the story follows mild-mannered accountant Hank (played by Bill Paxton), his wayward brother Jacob (Billy Bob Thornton), and local friend Lou (Brent Briscoe). They stumble upon a dead body and a duffel bag containing over $4 million. Although rarely discussed today, “A Simple Plan” is quietly considered one of Raimi’s finest films, not least because it earned two Oscar nominations at the 71st Academy Awards for Best Supporting Actor (Billy Bob Thornton) and Best Adapted Screenplay.

Before landing with Sam Raimi, “A Simple Plan” passed through several filmmakers including John Boorman, John Dahl, Mike Nichols, and even Ben Stiller, all of whom were involved with different drafts of Smith’s screenplay. Despite the film’s small-town paranoia theme seeming at odds with Raimi’s known style, the final product was remarkable. By stepping away from his usual kinetic visuals, Raimi explored the emotional intensity of characters pushed to the brink.

At its essence, “A Simple Plan” is a tense neo-noir exploration of temptation, loyalty, and the cascading consequences of bad decisions. It’s reminiscent of works by John Huston, John Steinbeck, and William Shakespeare. Comparisons to Joel and Ethan Coen’s acclaimed “Fargo” are understandable, given Raimi’s friendship with the Coen brothers.

In “A Simple Plan,” Bill Paxton and Billy Bob Thornton, who previously collaborated on the 1992 crime thriller “One False Move,” return as brothers with conflicting motives for the money. Paxton’s character, Hank, enjoys a stable life with a job, a home, and a baby on the way with his wife Sarah (Bridget Fonda). She cunningly fuels Hank’s temptation, reminiscent of Lady Macbeth, whenever he wavers about keeping the money. Paxton’s portrayal of an everyman captures Hank’s internal conflict, presenting himself as the rational one while frequently contradicting his own sense of morality.

At its core, “A Simple Plan” is a fantastically tense neo-noir film about temptation, loyalty, and how covering up one bad decision with another one can only lead to more trouble. It evokes John Huston, John Steinbeck, and William Shakespeare at times. It isn’t surprising that some folks have also made comparison points with Joel and Ethan Coen’s beloved crime thriller movie “Fargo” considering Raimi is good friends with filmmaker siblings.

Bill Paxton and Billy Bob Thornton had already worked together in the 1992 crime thriller “One False Move,” playing two men on opposite sides of the law. “A Simple Plan” pits them against one another as brothers whose motivations for the money lie on different spectrums. Paxton’s Hank has a good job, a home, and a baby on the way with his wife Sarah (Bridget Fonda). She’s a clever player in this game, stoking the flames of temptation in her husband’s ear à la Lady Macbeth every time he hesitates to keep the money. Paxton’s everyman demeanor plays into Hank’s duality. He posits himself as the most rational of the trio, yet consistently contradicts himself.

On the other end is Thornton’s Jacob, who mostly wants to use his share to renovate the abandoned family farm. He doesn’t quite have his life in order and probably suffers the most emotional turmoil as a result of finding the money. For an actor who has played many morally gray and cold-hearted characters with ease, Thornton displays a burrowing vulnerability that really makes him disappear into a role that truly warranted a best supporting actor nomination. It’s no wonder this is regarded as one of Thornton’s best movies of all time.

It’s fascinating seeing Raimi find different ways to get under people’s skin, especially in such a subdued fashion. The “Evil Dead” filmmaker understands that, sometimes, the most prominent terror derives from internal provocation and the things that are left unsaid. If something feels too good to be true, that’s because it is.