One False Move is the second film directed by Carl Franklin, and the first to feature themes of the Black experience front and center. The film was co-written by Billy Bob Thornton, who portrays Ray, a criminal who, along with his partner, Pluto, and girlfriend, Fantasia, murder six people in a single night in LA as they seek a hidden stash of cocaine and cash. Ray and Pluto are willing to murder innocent neighbors just to cover their tracks. Fantasia is seemingly along for the ride. From LA, they make their way down to Houston to sell the cocaine to an acquaintance of Pluto’s.

Two LA detectives are investigating the case, and discover their suspects might be heading toward Star City, Arkansas, so they reach out to the local authority, Dale Dixon (though everyone calls him “Hurricane”), played by Bill Paxton. Dixon might be crazy, but he’s a good ol’ country boy, and he’s thrilled at the opportunity to do what he considers “real” police work. Dixon’s giddiness at working with the big boys provides the first half of the film with some comic relief. One particular scene involves Dixon trying to interrogate a local chicken farmer who is getting too old and deaf to be properly interrogated. It’s a little slice of Southern charm amidst the blood and carnage.

Ray, Pluto and Fantasia stop at a convenience store in the middle of nowhere, where their likenesses can be seen via security footage and a highway patrolman can get a good look at them. The patrolman pulls them over on their way out, and as things get heated, Fantasia shoots him. No longer an innocent bystander, Fantasia panics and takes off to Star City on her own, hoping to reunite with her son while she still has time. Dixon also sets out on his own in an attempt to catch Fantasia, whose real name is Lila, before the detectives do. He finds her in a little house in the middle of nowhere, and there, it is revealed that Lila’s son, Byron, is Dixon’s from an affair some years ago. Lila, at the time of their affair, was young, only 17, and criticizes Dixon for taking advantage of a young, Black woman who can’t say no to a cop. I guess Dixon is not as good as, and more country than we previously expected.

The tension builds as a montage set to a lone bluesy harmonica plays. We see Ray and Pluto driving toward the house where Lila and Dixon are waiting; Dixon’s deputy, Byron, and the two LA detectives are hunting for Dixon and Lila; Dixon’s wife and daughter are at home, anticipating Dixon’s safe return. Then, the shooting happens, and it’s all over too quickly.

This film, despite some of the names attached, was originally intended to be released straight to video. However, through word of mouth, it developed enough of a following to come out in theaters in 1992. It didn’t fair well at the Box Office, but through home video, it has survived. It’s unfortunate that a film like this flew under the radar. It’s an excellent crime drama, keeping you on the edge of your seat the entire time, and drawing attention to the disparity between Whites and Blacks in a Southern Rural town. Paxton turns on a dime when it’s revealed that the happy-go-lucky police chief isn’t what we thought he was. Cynda Williams shines as both killer and victim. Michael Beach is terrifying as the ruthless Pluto, who keeps his weapon of choice, a knife, up his sleeve at all times. Billy Bob Thornton is a little unbelievable as the earring-wearing, cocaine-addicted Ray, but he got better as an actor as time went on.

One False Move is a near-perfect Neonoir. It’s character-focused, multilayered, the violence is intentional and necessary, and it moves with purpose. Franklin proves his talent that he later perfects with Devil in a Blue Dress, which I’m sure I will review at some point, and this film acts as Exhibit A as to why he is one of the underrated masters. Do yourself a favor and watch this movie.

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