Learn more Shop now Shop now Shop now Shop now Shop now Shop now Learn More Shop now Learn more Shop Fire Shop Kindle Learn More Shop now Shop Women's Shop Men's



There was a problem filtering reviews right now. Please try again later.

on 16 July 2010
A fine example of 70s film making right here, Night Moves drifts along for an enthralling opening 75 minutes, never quite giving the game away as to where its headed. Instead in this drawn out beginning, you are presented with a delightful script which gives the well crafted characters plenty of room to breathe and develop, being both intelligent and witty. Each actor carries their roll with aplomb, there is no filler here whatsoever. Suddenly the film switches up four gears for the somewhat out of character rollercoaster finale, messy (literally) and perhaps feeling a touch forced before the absolutely stunning final shot, perhaps my favourite final shot this side of the original Pelham 1,2,3. Smart film, well worth you 100 minutes.
0Comment| One person found this helpful. Was this review helpful to you?YesNoReport abuse
TOP 500 REVIEWERon 8 November 2016
Arthur Penn’s ever-appreciating neo-noir from 1975 captures the social, cultural and political mood of its era quite brilliantly. Not only does it evoke the increasing lack of trust and cynicism of the age (in all walks of life – post-Watergate, Vietnam, etc.) very effectively, but, with its running theme on cinema and its ditching of the erstwhile tropes of the noir genre in favour of more reflection and thoughtfulness, Night Moves can be regarded as something of a milestone film of the time. That said, it is certainly not (for me, at least) a flawless film. The acting is a little hit or miss and with its 'fashion sense’ rooted firmly in the 1970s (flares, handlebar moustaches and very much a 'TV soundtrack’ by Michael Small), it does have a dated feel to it, but this is more than made up for by a perceptive and ironic script courtesy of Alan Sharp, a brooding, atmospheric and complex plot that swings between the episodic and unexpectedly dramatic, and another brilliant acting turn by Gene Hackman as the flawed hero, LA private detective Harry Moseby.

We may initially be lulled into thinking that Hackman’s Harry is a traditional 'noir hero’ in the vein of a Bogie or even a 'modern day’ J J Gittes, but any such illusion is soon shattered as Moseby, called in to investigate the disappearance of the daughter of Janet Ward’s ex-actress and (failed) seductress, Arlene Iverson, soon finds himself living out an existential crisis of his own, acting 'private dick’ in following his unfaithful wife, Susan Clark’s Ellen, and reliving his past parental traumas. Harry’s 'man out of time’ persona is brought home to him as Sharp’s intricate plot takes the detective to Florida where he finds Iverson’s daughter, Melanie Grifffith’s teen nymphet Delly, existing in an apparently free-living (and loving) 'commune’ ('I guess you like things to stay the way they are’) and Moseby starts to uncover a (rather fanciful) plot involving murder, inheritance, paedophilia and smuggling. Sharp’s plot, whilst meandering nicely and keeping us guessing (in more conventional fashion) right to the end as to who the film’s 'baddie’ might be, essentially acts as the backdrop to Harry’s own inner turmoil, as the detective questions the morality of his career, his relationship with his wife and (more widely) just who he can trust. Harry’s dilemma is summed up nicely in the film’s (eponymous) chess game sequence.

Acting-wise, Hackman excels again, thereby adding another film turn to his impressive oeuvre, which includes the likes of The Conversation, The French Connection, Mississippi Burning, Unforgiven and Penn’s own Bonnie and Clyde. Elsewhere, Ward impresses as the malevolent Arlene, as does Edward Binns as stuntman Joey Ziegler. The film’s series of (apparent) cinematic references is also worthy of note – Hitchcock getting the most obvious nod via the use of a stunt (then 'real') propeller plane (à la North By North West) and perhaps by the casting of Tippi Hedren’s daughter Griffith, plus Arlene’s world-weary 'film star’ also calling to my mind Wilder’s Sunset Boulevard (perhaps a bit of a stretch this one). The film is also noted for Harry’s (apparently ironic) put-down of Eric Rohmer, 'I saw a Rohmer film once, it was kinda like watching paint dry’.

All-in-all, Penn’s film is a memorable evocation of its era – a time of great social, political and cultural uncertainty, evoked brilliantly on screen by Hackman’s portrayal of Harry, whose past and future life trajectory is summed up in the film’s mesmerising final sequence.
0Comment|Was this review helpful to you?YesNoReport abuse
on 21 October 2010
It was around this period that private eyes became caught up in taking a closer
interest in not only their own personal problems,but also those of their clients.
In fact,becoming a bit more human in the process. Here is a classic instance.
Gene Hackman is caught up in,what to the audience,soon becomes a complicated
mess of a plot. This state of affairs is beautifully stated at the end, with the
boat going round and round in circles. A clever movie,well worth seeing.

Mike
0Comment| One person found this helpful. Was this review helpful to you?YesNoReport abuse
on 10 February 2015
Bad story,bad Susan Clark,bad acting,even Gene Hackman is bad......bad film.One star only.
0Comment|Was this review helpful to you?YesNoReport abuse
on 20 April 2009
...so said an old American TV ad. This is a superb 1970's noir-style private eye thriller set in the Florida Keys, as well as in LA and New Mexico. Harry, the PI, is out to recover a missing girl but there's a lot more to it than that.

One of the best latter-days noirs around. Recommended.
0Comment| 3 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 5 March 2016
Rubbish movie from the 70's. Would not recommend.
33 Comments| One person found this helpful. Was this review helpful to you?YesNoReport abuse
on 6 June 2014
Night Moves starring Gene Hackman is a long forgotten 70's film which has gained a mythic cult status as an intriguing film noir about a private detective investigating a case of missing girl. Solid performances throughout and a screen début for a very young Melanie Griffiths. Great moment when Hackman explains about a legendary chess move which completely blindsides a Grand Master.

Night Moves has a very 1970's feel to it which Is fine, but the quality of the print of this DVD is very poor which detracts from the experience. This film never found mainstream acclaim at the time; however, more recently it has been getting retrospective recognition. If you are a fan of 1970's cinema in the style of Klute, The Conversation, The Parallax View and haven't seen this, then it's worth checking out.
0Comment| 2 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 5 October 2011
Get the six pack out start watching at midnght,and some great entertainment can be had by all,not a fast action movie but keeps you viewing,and has the usual 70`s naked females and full frontal scenes,to start you off,but forget that this is a very well made thriller in it`s own easy way,in 2011 you can spot the rising stars in their early days,great use of florida locations and as someone else said a bit soft on film print in parts but the last 30 mins is great to look at,I think this ended up a double bill with a another Hackman film in the cinema but stands up on it`s own.
0Comment| 2 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 3 October 2014
One of the great fims of the 70s and certainly one of Hackman's best.
I love the sassy, witty and ultimately tragic Jennifer Warren character, who really outshines the early Melanie Griffiths.
0Comment|Was this review helpful to you?YesNoReport abuse
on 9 December 2015
Excellent 1970s action adventure, additionally with one of the best behind-the-scenes features ever, showing how the film was made and Gene Hackman doing his own stunts...
0Comment|Was this review helpful to you?YesNoReport abuse