Movies can be the most bizarre reflections of reality. Take Night Moves, for instance, a fictional account of terrorism from Step 2 forward (Step 1 was “Make the plan”). Now if this is real life, I don’t want these twentysomethings to blow up a dam. I would hope they get counseling. I might agree with their passion and their politics, but steer them to different application. I would certainly distance myself in some form — “my credo/philosophy/religion would never advocate THAT.” When they commit the deed, I would see the events reported by “news” channels and feel awful, and then perhaps a bit afraid, especially when conservative groups insist upon yet another uptick in our collective national paranoia level. I would consider these points of view and sadly conclude, yet again, this country, this world, this life, is Fucked. And yet, by contrast, on screen I root for success. I want to see things from the terrorist point-of-view. I want to know how they’re going to execute the dastardly deed and how close this comes to reality. I feel cheated when an explosion happens off screen. There’s something very, very wrong in that contrast.
Josh (Jesse Eisenberg) and Dena (Dakota Fanning) are the least fun young people you’ll ever meet. Dour, sour, gloomy, morose — take your pick to describe the pair. Are they a couple? Who knows? Pretty sure both could have used a release of sexual tension. That is if either even identifies as a sexual creature – they’re both just wrapped up in the evil. We join already in progress. Night Moves opens with the plot already in place to destroy a semi-local Oregon dam. The det
ails have been assumed. All left is preparation and gloom. Seriously, gloom. The two buy a motor boat (the “Night Moves”) which becomes an exercise akin to quizzing the Goth kid about top-40 radio.
In Rathole, Oregon, the two become a three when Harmon (Peter Sarsgaard) becomes their partner in crime. Harmon and Josh know one another, but seem more convenient business partners than friends. After the attack, the plan is to split, no contact. None of the three has a problem with this.
There’s a lot of somber in Night Moves. Watch many scenes of quiet pondering, minimal soundtrack and sober, grief expressions. The camera lingers voyeuristically as if to announce to the authorities: here! Here’s where they are! Come stop ‘em! The excitement of the job probably occurred pre-filming. What’s left is an unnerving reality check as if all the players have already met the consequences without having committed the offense. The weird part is the players know their actions will have little consequence, and yet, it’s time to stick it to The Man one way or another. I enjoyed the pensive reflection of these scenes, but readily admit most are gonna have trouble with the pacing and the empathy for these antiheroes.
♪Was a little too grave, could have used a few larks
Hangin’ out in our nations varied lakes and parks
She had all the spunk of a lethargic sloth
Stuffing fertilizer into bags of cloth
Yeah, lots of bags of cloth
Out past civilization where anarchists foment
Endless plots against our government
Workin’ political theories without any clues
Workin’ on some life blues♫
Rated R, 112 Minutes
D: Kelly Reichardt
W: Jonathan Raymond, Kelly Reichardt
Genre: The consequences of anarchy
Type of person most likely to enjoy this film: Liberals with sense enough to find terrorism repulsive
Type of person least likely to enjoy this film: Actual anarchists
♪ Parody inspired by “Night Moves”
