Night Moves

Okay...I was expecting more. All the movie is about the plan. A clearly stupid and poor plan. We even don't know why they are doing that. We actually don't know anything about the characters because everything is silent and green. And that leads us to a non transparent story, full of holes and doubts.

Dialogs are nearly abstract, very plain. Eisenberg can't convince us he is kind of a criminal. There's no tension and that makes it more boring.

Then, the characters change, product of a particular situation (which was patently predictable)and we are expecting the characters to be real human beings, but...they are not.

And then the movie ends. There's no much more. And...OK.

To appreciate this film, you have to be prepared for the work of Kelly Reichart, whose films tend to be slow-moving and thought-provoking. You have to be in the mood for that type of experience. For this particular film you also have to be prepared for an emotional reaction to the story of several people who take political action, violent action, and suffer its human costs.

Anyone who was young during the 1960's and 1970's will remember what it was like to debate those political issues. We all had to decide whether we were willing to take action in which someone might get hurt. Or in the jargon of Star Trek, does the life of one outweigh the life of many? It's a question we still grapple with today.

If you are willing to confront those questions, and your own answers, this film will interest you. If you don't like to think about such things, skip this film and watch something more superficial.

I went to the theater, a bit afraid I'd be on the receiving end of Enviro-Preaching. Instead, I was pleasantly surprised to find something different. This was actually a suspenseful thriller about paranoia taking hold after the commission of a major crime.

The environmental aspect was just a means to move the story along. Although the story involves eco-sabotage, the basic premise of the fallout from paranoia could have fit in a story about something similar like a robbery gone wrong, etc.

I was tickled to see the counter-culture hippie family eating bacon, and the self-righteous radical enviro-warriors owning gas-guzzling full-size pickup trucks. One of the guys, for all his professed love of the earth, treated his property like a pig sty. I don't think these and other little treats were accidents.

On the negative side, the movie was a bit on the slow side. Not horribly slow, but just a little on the plodding side. I think there were a few too many shots of the main character staring into space, having deep thoughts. Maybe it was constipation, I don't know. And the ending? Definitely could have been reworked, as it was rather disappointing.

In spite of these moderate flaws, I enjoyed this movie very much. It's well worth checking out.

For anyone familiar with famed indie director Kelly Reichardt's work you know what you're in for with Night Moves. Reichardt specializes in a sort of pondering, slow paced narrative that has seen her reach some great heights (Wendy and Lucy) and some real lowlights (Meeks Cutoff) that now with Night Moves has seen her move into an interesting new direction without losing the style that has gained her a steady stream of critical praise over her years in the industry.

This new direction we speak of is that of the eco/environmental thriller, a new sub-genre that has sprung up in recent years as the continued focus on the earth's natural demise has been more prevalent. Reichardt's slow burn pacing and nearly non-existent background work actually works incredibly well in setting up Moves central plot devise, that of an act of eco-terrorism in the blowing up of an energy dam.

For the first hour or so here Reichardt ratchets up the tension to an incredible level and it's not through scripting or clever edits, merely through a methodical pacing that almost feels as if it's playing out in real time, making the audience feel a part of whatever is about to go down. Once the films central act becomes old news the film takes on a less effective yet in the end scenes, tension riddled aspect that sees Reichardt's cast come to the forefront.

Everyone's favourite bundle of nervous edginess Jesse Eisenberg is front and centre here in Moves and his natural persona fits perfectly for the characters of Josh, a young man clearly dedicated yet not overly ready for the repercussions of his actions, even if they are in theory, for good. Eisenberg is ably supported by another grown up turn by Dakota Fanning who can still deliver dialogue in a unique way and Peter Sarsgaard in another one of his somewhat creepy loner roles. The lead cast of three produce an uneasy and well played out chemistry that fits this tale well and along with Jeff Grace's moody score and Christopher Blauvelt's stoic cinematography, creates a real unique feel to this non-conventional thriller.

Night Moves is a film too ponderous for the mass market of movie lovers yet it has a humble and effective feel to it that allows those that go along with it to be invested and on edge with what is taking place. With a cast of solid leads and with a lovely visual feel, Night Moves has a groove all to its own and while never reaching grand heights, it's certainly a sight bit better than many of its more explosive yet idiotic thriller counterparts and a breath of fresh air for those that like their movies tinged with a slower pacing.

3 1/2 bags of fertilizer out of 5

Josh (Jesse Eisenberg) and Dena (Dakota Fanning) are radical environmentalists. They buy a boat called "Night Moves". They along with troubled ex-Marine Harmon (Peter Sarsgaard) plan to bomb a dam. They buy a large quantity of fertilizer, make their bomb and deliver it on the boat.

This is a slow, methodical movie. There are so many empty spaces. It's a two hour movie that could easily be squeezed in half. It's just so very slow. Everybody is doing mainly quiet acting. Some could see in it as deep emotional acting. They can read so much into their quietness. I can only read it as a lack of dialog. There are some emotional content in the second half but it's not enough.