Arlene Iverson: Are you the kind of detective who, once you get on a case nothing can get you off it? Bribes, beatings, the allure of a woman...
Harry Moseby: That was true in the old days. Before we had a union.

Perhaps I need a longer time to fully sit with this. But initial thoughts, this rules!

Arlene Iverson: Are you the kind of detective who, once you get on a case nothing can get you off it? Bribes, beatings, the allure of a woman...
Harry Moseby: That was true in the old days. Before we had a union.

Perhaps I need a longer time to fully sit with this. But initial thoughts, this rules!

Despondent noir tragedy that takes its time setting up the pins just to then knock you over the head with them, with an ending that is up there as one of the great final sequences in all of cinema, either making the film for you or entirely breaking it.

Despondent noir tragedy that takes its time setting up the pins just to then knock you over the head with them, with an ending that is up there as one of the great final sequences in all of cinema, either making the film for you or entirely breaking it.

It was a DIFFERENT TIME OK??

It was a DIFFERENT TIME OK??

Criterion Challenge 2026: 1970s

Night Moves was incredibly reminiscent of The Long Goodbye, another ‘70s noir mystery that I wanted to like more than I actually did. Both focused more on the feel of the film than upon the actual plot. The underlying themes of this film seem ultimately to point to the incredibly passive nature of the main character who holds, but never fires, a gun, who argued with his wife about her cheating, but never stops her, and who watches someone close to him drown, but doesn’t try to save her. Maybe it’s pointing to some greater idea of the times, but to me it seems like Chinatown with less engaging characters and a plot that didn’t really try to make you care.

🤿👨‍🦯🛩️🕵️‍♂️🌊

Criterion Challenge 2026: 1970s

Night Moves was incredibly reminiscent of The Long Goodbye, another ‘70s noir mystery that I wanted to like more than I actually did. Both focused more on the feel of the film than upon the actual plot. The underlying themes of this film seem ultimately to point to the incredibly passive nature of the main character who holds, but never fires, a gun, who argued with his wife about her cheating, but never stops her, and who watches someone close to him drown, but doesn’t try to save her. Maybe it’s pointing to some greater idea of the times, but to me it seems like Chinatown with less engaging characters and a plot that didn’t really try to make you care.

🤿👨‍🦯🛩️🕵️‍♂️🌊

Gene Hackman in this film is the perfect portrayal of a man: how he looks and how he acts. Maybe in another life, or a couple decades from now, I'll have hair that's slightly receding, enough chest hair to make a carpet, and a sick fucking 'stache.

Gene Hackman in this film is the perfect portrayal of a man: how he looks and how he acts. Maybe in another life, or a couple decades from now, I'll have hair that's slightly receding, enough chest hair to make a carpet, and a sick fucking 'stache.