One False Move

Directed by Carl Franklin, One False Move follows a trio of criminals (Billy Bob Thornton’s Ray, Cynda Williams’ Fantasia, and Michael Beach’s Pluto) as they commit several murders and steal a cache of drugs before making their way towards Arkansas – where an affable small-town sheriff (Bill Paxton’s Hurricane) awaits their inevitable arrival. Filmmaker Franklin, working from Thornton and Tom Epperson’s screenplay, does a fantastic job of instantly luring the viewer into the deliberately-paced proceedings, as One False Move kicks off with a bleak, gripping opening stretch detailing the aforementioned murders and the criminals’ initial efforts at making their way to safety – with the stirring atmosphere heightened considerably by the actors’ rock-solid efforts and Franklin’s stylish approach to the material. (Thornton and Beach are absolutely hypnotic here, although it’s clear that Paxton’s compelling and periodically heartbreaking turn remains a highlight.) And although Franklin has peppered the narrative with a handful of electrifying, engrossing sequences, including an impressively tense interlude detailing the antagonists’ encounter with a local police officer, One False Move progresses into an overly languid midsection and second half that does, to a small yet palpable degree, dull its overall impact – which, in turn, prevents the violent finale from packing the visceral punch one might’ve anticipated. It’s a minor complaint for a picture that’s otherwise (and predominantly) quite engaging for the duration of its runtime, and it’s clear, ultimately, that One False Move handily establishes itself as one of the 1990’s most memorable crime movies.

*** out of ****