Kelly Reichardt's Night Moves, if nothing else, proves that the radical environmentalists of our time can be just as irritating as those who hold up signs blasting the alleged lies of global warming at crowded, echo-chamber rallies. The film concerns a group of three young, arrogant eco-terrorists, so concerned about the environment and so appalled by the blatant corporatism of America that they decide to set an example and wake-up the sheep of the country but staging an explosion of a hydroelectric dam in Oregon. Think about that last sentence and find the flaw in their young minds.
The three radical environmentalists are John (Jesse Eisenberg), Dena (Dakota Fanning), and Harmon (Peter Sarsgaard). John and Dena have come up with an elaborate plan to stage the bombing, but it's up to Harmon to actually construct the bomb, using ammonium nitrate among other things, to help carry out the attack. Co-writer/director Reichardt follows these characters in a way that's quiet, low-key, and not very menacing, given the subject matter, ripe for commentary and subjectivity. She chooses to shoot everything through a lens of softness, making good use of natural sound, light, and other devices to help the story move forward. Reichardt, nor the film's trio of environmentalists, are in any particular hurry whatsoever. The film is ten minutes shy of two hours and makes diligent use of its time.
A great deal of the last hour shows the mental effect the actual bombing has on its characters. We only hear the ammonium nitrate activating and exploding and do not see the actual explosion occurring, nor do we need to, for this isn't that kind of film. In true indie- film fashion, we are focused on what the bombing's long- term effects are on the film's characters, who feel guilt when they learn the rush of the dam currents drowned a man camping near the explosion. They never intended to injure or kill the sheep of the country, but rather, just inform them of what their actions are doing to the ecosystem. However, they now have a mess on their hands and must deal with it in their own manner. They split up and cut connections with each other, but grow weary of one another possibly ratting out the entire group when the rush of guilt becomes too difficult to bear.
The three eco-terrorists of the film are not very likable people. They are arrogant and self-absorbed, not willing to share their knowledge, but beat you over the head with it until your covered in metaphorical blood and shame for your alleged lack of interest or concern about Mother Nature. They are no better in their propagating of their idea of "the truth" then their greatest enemies, climate change deniers or the uniformed, are at iterating their own "truth."
However, that's not to say our three characters (I don't see them as protagonists, antagonists, anti-heroes, or any literary classification whatsoever) don't make substantial points in their arguments. One of the best moments of the film comes when the idea of the rich vs. the poor is elaborated in such a philosophical way it begs a mention in this review. The characters talk about how the poor live and work in the moment, operating on a day-by-day basis, using what available resources and cash they have in the moment. The rich, on the other hand, operate in the future, buying many things with credit, investing in long-term business plans, and so forth. To them, this is why the environment is such in a disastrous position because we've chosen to allow our greed to thrive in the moment and left our tab - environmental dangers, debt, and income inequality - for later, or worse, for somebody else.
Night Moves is a nice showcase for low-key filmmaking in the sense that we can still have a point, or even several points, be inferred or illustrated without obnoxious overtones and frustratingly overwritten dialog. To some degree, the film is underwritten because its characters lack evident personality, but it all comes back to the ideas I discussed in my reviews of 17 Girls and The Bling Ring in that the characters explored in these films have no personality other than their immediate gratifications through violence, theft, pregnancy, or what-have-you. To give them illustrated personalities would be giving them too much credit. The emptiness of the characters in this particular film are crafted nicely by Eisenberg, Fanning, and Sarsgaard, particularly Eisenberg who, in The Social Network, managed to play the same sort of role. Quiet, unassuming, but uncompromising in his brilliance and his approach to the world. For some, this may be one of the best films you've never heard of, and for me, it's one of the most surprising independent efforts of its year.
Starring: Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. Directed by: Kelly Reichardt.
The three radical environmentalists are John (Jesse Eisenberg), Dena (Dakota Fanning), and Harmon (Peter Sarsgaard). John and Dena have come up with an elaborate plan to stage the bombing, but it's up to Harmon to actually construct the bomb, using ammonium nitrate among other things, to help carry out the attack. Co-writer/director Reichardt follows these characters in a way that's quiet, low-key, and not very menacing, given the subject matter, ripe for commentary and subjectivity. She chooses to shoot everything through a lens of softness, making good use of natural sound, light, and other devices to help the story move forward. Reichardt, nor the film's trio of environmentalists, are in any particular hurry whatsoever. The film is ten minutes shy of two hours and makes diligent use of its time.
A great deal of the last hour shows the mental effect the actual bombing has on its characters. We only hear the ammonium nitrate activating and exploding and do not see the actual explosion occurring, nor do we need to, for this isn't that kind of film. In true indie- film fashion, we are focused on what the bombing's long- term effects are on the film's characters, who feel guilt when they learn the rush of the dam currents drowned a man camping near the explosion. They never intended to injure or kill the sheep of the country, but rather, just inform them of what their actions are doing to the ecosystem. However, they now have a mess on their hands and must deal with it in their own manner. They split up and cut connections with each other, but grow weary of one another possibly ratting out the entire group when the rush of guilt becomes too difficult to bear.
The three eco-terrorists of the film are not very likable people. They are arrogant and self-absorbed, not willing to share their knowledge, but beat you over the head with it until your covered in metaphorical blood and shame for your alleged lack of interest or concern about Mother Nature. They are no better in their propagating of their idea of "the truth" then their greatest enemies, climate change deniers or the uniformed, are at iterating their own "truth."
However, that's not to say our three characters (I don't see them as protagonists, antagonists, anti-heroes, or any literary classification whatsoever) don't make substantial points in their arguments. One of the best moments of the film comes when the idea of the rich vs. the poor is elaborated in such a philosophical way it begs a mention in this review. The characters talk about how the poor live and work in the moment, operating on a day-by-day basis, using what available resources and cash they have in the moment. The rich, on the other hand, operate in the future, buying many things with credit, investing in long-term business plans, and so forth. To them, this is why the environment is such in a disastrous position because we've chosen to allow our greed to thrive in the moment and left our tab - environmental dangers, debt, and income inequality - for later, or worse, for somebody else.
Night Moves is a nice showcase for low-key filmmaking in the sense that we can still have a point, or even several points, be inferred or illustrated without obnoxious overtones and frustratingly overwritten dialog. To some degree, the film is underwritten because its characters lack evident personality, but it all comes back to the ideas I discussed in my reviews of 17 Girls and The Bling Ring in that the characters explored in these films have no personality other than their immediate gratifications through violence, theft, pregnancy, or what-have-you. To give them illustrated personalities would be giving them too much credit. The emptiness of the characters in this particular film are crafted nicely by Eisenberg, Fanning, and Sarsgaard, particularly Eisenberg who, in The Social Network, managed to play the same sort of role. Quiet, unassuming, but uncompromising in his brilliance and his approach to the world. For some, this may be one of the best films you've never heard of, and for me, it's one of the most surprising independent efforts of its year.
Starring: Jesse Eisenberg, Dakota Fanning, and Peter Sarsgaard. Directed by: Kelly Reichardt.