One False Move (1992)

User Rating:

7.1/10   

Director:

Carl Franklin

Writers (WGA):

Billy Bob Thornton (written by) &
Tom Epperson (written by)

Release Date:

8 May 1992 (USA)

Genre:

Thriller | Crime | Drama

Tagline:

All it takes to bring him down is one bullet... one woman or... One False Move.

Plot:

With the assistance of two Los Angeles Police Department detectives, Star City, Arkansas Police Chief...

Plot Keywords:

Arkansas | Small Town | Police | Road | Neo Noir

Awards:

6 wins & 7 nominations

Cast

Bill Paxton	...	Chief Dale 'Hurricane' Dixon
Cynda Williams	...	Lila 'Fantasia' Walker
Billy Bob Thornton	...	Ray Malcolm
Michael Beach	...	Wade 'Pluto' Franklin
Jim Metzler	...	Lt. Dudley 'Dud' Cole
Earl Billings	...	Det. John McFeely
Natalie Canerday	...	Cheryl Ann Dixon
Robert Ginnaven	...	Deputy Charlie
Robert Anthony Bell	...	Byron Walker
Kevin Hunter	...	Ronnie Walker
Phyllis Kirklin	...	Mrs. Walker
Meredith 'Jeta' Donovan	...	Bonnie Dixon
Jimmy Bridges	...	Bobby Post (as James D. Bridges)
Phyllis Sutton	...	Jackie
Derrick Williams	...	Darren

Runtime:

105 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.37 : 1

Sound Mix:

Dolby

Certification:

Iceland:16 | Australia:R | Germany:16 | Spain:18 | UK:18 | USA:R | Canada:R

Filming Locations:

Cotton Plant, Arkansas, USA

Company:

IRS Media

Trivia:

When the film was completed, the original plan was to release it straight to video. Stronger than expected word of mouth convinced the distributor to send it to theaters. The late critic Gene Siskel voted this film as his favorite of 1992.

Goofs:

Revealing mistakes: When Fantasia is shot in the head, the "bullet hole" can be seen a fraction of a second before the shot is heard.

Quotes:

Cheryl Ann: He don't know no better, he watches television. I read non-fiction.

Movie Connections:

Referenced in "Foster's Home for Imaginary Friends: One False Movie (#3.11)" (2006)

Not what it seems to be

At first glance, "One False Move" would seem to be just one more "cops vs. psycho cocaine killers" movie, but it's actually quite a bit more than that. It shows us what we first take as stereotypes, then throws them back at us: clean-cut, good-looking, intelligent (black) Pluto (Michael Beach) and beady-eyed, slovenly, foul-mouthed, slack-jawed trailer-trash (white) Ray Malcolm (Billy Bob Thornton) are partnered with beautiful black call girl Phantasia (Cynda Williams) in a rip-off of some Hollywood coke dealers. The robbery turns into a horrific massacre--instigated by Pluto, who, it turns out, is a heartless, remorseless serial killer whose few pleasures in life include slicing up his victims with a knife. And, as it also turns out, Phantasia isn't Pluto's girlfriend, as would seem logical, but she's with Malcolm, who looks and acts like he should be on a recruiting poster for the Ku Klux Klan--and who, for all his outward bluster, tough talk and murderous appearance, is actually the weaker of the two men by far, and almost totally under the thumb of the icy, cold-blooded Pluto, of whom he appears (with good reason) to be terrified.

The L.A. police eventually discover the trio's identities, and their investigation leads them to believe that the killers are headed for an Arkansas backwater called Star City, so they send two homicide detectives there to help the local sheriff apprehend them. In this film, though, even the two "sophisticated", big-city cops aren't exactly what they seem, either; one is an easygoing, slow-talking, overweight black guy, the other is a good-looking, stereotypical "Joe Friday" type white guy who, as it turns out, has his own demons to deal with. Even the Star City sheriff, a young, garrulous "bubba" (Bill Paxton, in a first-rate job) excited by the prospect of doing some "real" police work with some "real" big-city cops, turns out to have more of an interest in this case than just a purely law enforcement one.

This is a crackerjack movie, with no big stars but chock full of good, solid character actors, an inventive, well written script (by Thornton) and direction by Carl Franklin that brings to mind the best of Don Siegel, Phil Karlson, Joseph H. Lewis and other noir icons of the '40s and '50s. A clever, sharp, tough (it does contain some quite graphic violence) and twisted--in the best sense of the word--thriller from start to finish. Don't miss it.