One False Move

This modern film noir pits three violent criminals on the run from a violent drug rip-off against two LA cops aided by a rural sheriff. The trio of bad-guy consists of a white-trash loser (Thornton), his African-American girlfriend (Williams), and their high-IQ, sociopath friend (Beach) also black. After committing multiple murders in California they high-tail to Thornton's and Williams' hometown of Star, Arkansas to lay-low. Their journey across the backroads of Texas is fraught with danger, (it's not like they don't stand out) and unbeknownst to them, the cops are waiting....

Very well done without the "look at me I'm so realistic" dialogue too often found in this much copied genre. One of the best of its kind, well worth the rental.

I have seen this movie twice. The first time, for the whole movie I was on the edge of my seat. This was an intense film. From the extremely brutal beginning to the climatic end, I couldn't relax once. I did notice the fact that race played no factor; all colors were represented on both sides. In 1992, I had seen over fifty movies at the theater so I put together a top ten list and this movie made it easily. Since I knew how the movie would play out, on my second viewing I was able to look for other things. This time I noticed though the thrilling aspects of the film were used to set the movie in motion, underneath there was an examination of big city meets rural town. Amazingly, the main characters weren't treated as stereotypes. Each character (I count six) was fleshed out but not too much. There were no judgments on which life was better or any advantages or disadvantages to either style of living. In a lot of ways the film reminded me of John Sayles' movies. In other words a movie that a lot of thought went into making it. A great film.

I watched this film in 1991 and I still think about it frequently. It has become a standard to compare other films. The violence at the beginning made me uncomfortable, and I almost turned it off. I am glad that I didn't, because I would have missed one of the best films of the decade. The movie's pace and tone are perfectly natural - not artificial in any way. I like the scene in the diner best. The two LA cops are joking with each other about the backward local sheriff (Paxton), and they didn't know he was standing there. The awkwardness of the moment encapsulated the film.

I think One False Move, Fargo, and The Sweet Herafter are a great trilogy of movie making at its best. All set in small - real towns with real people.

It sucks that it takes the death of an actor to remind you that you still haven't watched something, but that's how it was with the passing of Bill Paxton, which reminded me that I still had somehow overlooked "One False Move", despite wanting to see it since it came out, when Siskel and Ebert were raving about it for what seemed like months.

They were right to rave about it. "One False Move" is a tightly wound, taut, masterfully acted and powerfully suspenseful film. It's also written with a precision and level of realistic detail lacking in so many screenplays. I had forgotten, as I feel the entire world has, just how great of a writer Billy Bob Thornton was once upon a time. This might be his greatest screenplay, in fact. The plot (about three criminals fleeing L.A. after robbing and killing a drug dealer, heading to Arkansas to hide out) moves forward with the ruthless momentum of a shark, and with just as much bite. The opening is one of the most brutal sequences I've seen in quite some time, and the violence that erupts in the rest of the film is just as brutal. Carl Franklin directs with a lean, muscular hand. The violence occurs as it seems to in reality, seemingly out of nowhere and with surprising impact. Every death hits with a hell of a punch, you feel virtually every stab and gunshot. The characters are drawn with a fascinating level of insight and detail, and every detail feels just right. Even the most violent and despicable of people in this movie is treated with respect and is intriguing, and we really get to know them and what makes them tick. Aside from the acts of violence, this movie is filled with powerfully rendered little moments that feel as natural as overhearing a conversation or catching up with an old friend.

The biggest joy of this movie is, unsurprisingly, getting to know Bill Paxton's Dale "The Hurricane" Dixon, the chief of police of a small Arkansas town that three vicious criminals seem to be heading toward like a particularly nasty storm front, leaving a trail of corpses in their wake. Paxton is vibrant and electric here. He's utterly charming, but he's much more than he initially seems and Paxton gets to hit those notes of complexity with grace and a natural, easygoing nature. It doesn't feel like an actor playing a character, it just feels like the filmmakers trained a camera on this guy and told him to be himself. Paxton usually gets to play either a good ol' boy or a dirtbag. This character allows him to play a bit of both, and also to reveal acting muscles that those unfamiliar with his less popular work (see "Frailty", for God's sake) may not know he possessed. This is perhaps his greatest performance, although he's excellent in "Frailty" and "Big Love" as well. It's a magnificent character, and Paxton brings it fully, forcefully to vivid life.

Cynda Williams, Billy Bob Thornton and Michael Beach are likewise excellent here. All of them are magnetic to watch, even though Paxton really does run away with this movie. But the real power of the film is seeing how it unfolds, the unexpected avenues it takes and the little touches and moments that bring it to life and make it feel a bit more like Real Life than most films of this ilk. It feels like a Coen Brothers movie in subject matter and, occasionally, the thrilling ways that Franklin moves the camera. But, I daresay, the Coens would never quite bring the level of verisimilitude to the tale that Franklin and Thornton do. That's no knock against the Coens, who are among my favorite directors, but "One False Move" is so uncommonly gripping and observant, in a way that the glorious, artful playgrounds of the Coens never quite are. It's not better, it's just a different vibe, and one that really makes this movie come alive in an extraordinary way.

I usually don't watch movies on Crackle because the commercials that are interjected every fifteen minutes or so bug me, but I'm glad I did this time. "One False Move" is, unfortunately, out of print and it's nowhere to be found on other streaming services. Thank God that Crackle is at least making this forgotten treasure available to be seen. Take my advice, brave the commercials (they don't edit content, at least) and watch "One False Move". It really is an amazing film.

Directed by Carl Franklin and written by Billy Bob Thornton and Tom Epperson, 'One False Move' is a thriller starring Cynda Williams, Billy Bob Thornton, Bill Paxton, Michael Beach,etc.

Although the film on the surface is another drug deal gone wrong type thriller with violence and blood, but it has a lot going on beneath the violence of the criminal activities portrayed on screen. The script deals with the themes of the contrast between the country and the city, racism and the mask that many people wear to hide the complexities of their lives and their past. Somehow all these themes come together in the most seamless and nuanced manner to enhance the poignancy of the film. The plot reminded me of Richard Brooks' 'In Cold Blood'. It has a similar structure of criminals on the road trying to evade the law while the police is making plans to bring them in.

The acting is very good from all involved. Many of the characters in the film are not what they might appear to be initially. I have to individually mention Bill Paxton and Cynda Williams for showing a lot of range by playing character, the perceptions for whom change radically in the viewer's mind with the revealing of new facts about their past.

I have already mentioned that the script is layered, but even then this could have become a standard crime-thriller with no depth. Carl Franklin actually underlined the themes in the script by putting more emphasis on the characters, their behaviour and their past than just the violence of the criminal activities. The film ends on an optimistically in a subtle way. But personally I would have probably ended the film on a bleaker note to go with the subtext of the film. But the ending to the film still works as a hopeful message.