Chiefly known for horror, writer/director Jim Mickle made his name with the vampire tale “Stakeland” and the family-secrets thriller “We Are What We Are.” He detoured a little already with the revenge thriller “Cold In July,” but with his latest, Mickle full leaves horror behind, blending elements of noir and science-fiction to create the thrilling and mind-bending “In The Shadow of The Moon.”
Unlike his past films, Mickle had no hand in penning this one. Screenwriters Gregory Weidman and Geoffrey Tock center “In The Shadow of The Moon” on a tenacious Phildephia police officer whose journey begins in 1988. There, Tom Lockhart (Boyd Holbrook) is working merciless graveyard shifts. That is when he’s not making terrible pancakes for his very pregnant wife (Rachel Keller). But he has his heart set on making detective, which would mean better hours, better wages, and a better shot as his goal to really make a difference. So when a suspicious killing spree hits Philly, he and his partner Maddox (Bokeem Woodbine) race to the scenes of the crimes to get a jump on the investigation. But what they uncover is a mystery that won’t only change Lockhart’s life forever, but also the future of the United States.
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A bus driver. A fry cook. A concert pianist. A gogo dancer. All die in the exact same manner, which is abrupt, bloody, and bizarre. The cops can find no connection between the victims, but they have a suspect, a mysterious young black woman (Cleopatra Coleman) in a blue hoodie. Lockhart finds her pretty fast for a movie that seems to be a showdown between the two. But this is far from the end of their story. After a violent first meeting, “In The Shadow of The Moon” leaps to nine years later, which it will do again and again, following the emergence of a blood moon that brings this killer back to Lockhart’s turf. She’s looking to claim more lives. He’s seeking to stop her once and for all. As they continue to collide, Lockhart falls into obsession, crackpot theories, and isolation until cracking this case may be his only chance at salvation.
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Weidman and Tock’s script offers a fresh spin on the cat-and-mouse serial killer by working in sci-fi elements that add manic mind-bending to the mystery. To preserve your viewing experience, I’ll avoid specifics. But suffice to say, when Lockhart begins rambling his theories to his brother-in-law (Michael C. Hall), he sounds like a lunatic. This enhances the drama because here we have a logical man seemingly driven mad by concepts beyond his understanding. Each 9-year leap introduces a new stage of his investigation and decline. His glossy, well-groomed hair grows long and unkempt. His crisp uniform is abandoned for rumpled casual wear that makes him seem like he’s slept under a bridge, which he may have. In contrast, the killer he chases seems unflappable and ageless, emphasizing the flagrant imbalance of this face-off. Still, it’s a hellova showdown.
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Holbrook shoulders a blue-collar bravado with ease. He’s confident, but not cocky, exuding a warm charm whether he’s bringing breakfast in bed to his wife, talking shop with his partner, or interviewing a freaked out witness. This makes him easy root for. And Weidman and Tock sharpen this sensation by giving us a fool to root against, Lockhart’s brother-in-law, who is officially on the case, so his rival, also his boss, and a self-confessed “dick.” Now, some might scoff at the eccentric accent Hall rolls out for Keystone cop. However, born in raised in Central PA, I can confirm this accent is solid, from its flat vowels to its brisk cadence. Hall’s Lieutenant Holt is a territorial hardass who harrumphs each of Lockhart’s theories. Meanwhile. offering encouragement is Woodbine’s Maddox, who has an easy smile and a gentle grumble of warning when he fears his headstrong partner is pushing too far. Though very different men, they all share a gruff masculinity and casual swagger that makes them feel cut from the same cloth. Then there’s Coleman, who feels like a girl from another world altogether.
The “Last Man On Earth” star has shaved off all of her long, dark locks, giving her a look that is younger, edgier, and draws greater focus to her face. Playing a character whose motives are unknown for most of the runtime, Coleman must deliver performance not through showy monologues or zippy one-liners, but through oft-silent close-ups. Though playing a serial killer, her eyes carry not malice, but bright alertness edged with concern. Her voice is soft and entreating when she speaks to Lockhart. And her mouth is ever soft, her full lips never sneaking into a sneer. All of this adds to her mystique. Like the protesters who pop up, we demand to know: WHO IS SHE?
The bones of “In The Shadow of The Moon” are terrific. From them, Mickle fleshes out curious characters with a stellar cast, and builds a world familiar in its gruff and grime, yet extraordinary in exhilarating bursts. He gives us a city slick with rain and moonlight, the perfect playground for a noir. Then scatters stardust to look above the skyline and the possibilities beyond it. It’s beautiful and thrilling. However, the film’s confidence stumbles when it comes to the audience’s intelligence. Mickle doesn’t trust us to get what he’s laying out. Reveals that are telegraphed hard are regarded with astonishment to a degree that makes them a bit tiresome. And even the more shocking turns feel wallowed in, as if the audience needs a beat to catch up to a finale that’s not predictable but is clearly laid out. So, while the genre-bending is fresh and fun, the final act falls a bit flat. Still, Mickle offers a thriller that is gripping, gorgeous, and solidly entertaining. [B]
“In The Shadow Of The Moon” made its World Premiere at Fantastic Fest. It will hit Netflix on September 27.