He directed some low-budget exploitation films, attended the American Film Institute and then got “One False Move” as his first substantial film project. Meanwhile, in Arkansas, the two visiting cops, one black, one white, joke about the aspirations of the local lawman, whom they see as a naive greenhorn.īut his knowledge about the town goes very deep, and what he knows about the fugitives provides the key to the movie's last 30 minutes.Ĭarl Franklin's career has been mostly in acting until now, on stage and in several TV series. Most of what he says makes sense, and is disregarded. As the Thornton and Williams characters veer unhappily between protestations of love and outbursts of accusations, Beach sits quietly to one side - on a motel bed, in the back seat of the car - talking in a low, controlled voice. One of the strengths of the film is the way it draws its interpersonal relationships. This isn't the usual formula of the cops and criminals drawing nearer, but a more subtle approach, in which secrets about the past are gradually revealed that raise the stakes. The screenplay intercuts between these two storylines in a way that makes it increasingly important to us what will happen when the fugitives arrive in town. He thinks he might be able to make the big time in L.A. He is mightily impressed when two Los Angeles detectives ( Jim Metzler and Earl Billings) fly out to join him. The movie cuts ahead to the town, where we meet a cheerfully ambitious young sheriff, nicknamed “Hurricane” and played by Bill Paxton as the kind of guy who knows everybody in town and has never had to draw a gun in six years. Their original plan is to sell the drugs in Houston, but after they're identified as the fleeing murderers they change course, heading for the small Arkansas town where Williams' Fantasia was born and raised. They're played by Billy Bob Thornton as a violent, insecure red-neck type Cynda Williams as his lover, a black woman obviously deeply wounded in the past, and Michael Beach as the partner, a black man whose wire-rim glasses and impassive reserve conceal a capacity for sudden, cold violence. Three people are involved: two men who have teamed up to steal drugs and money, and the girlfriend of one of them. “One False Move” begins in Los Angeles with a series of brutal murders of people in the drug underworld. The movie pays full attention to the dynamics of both groups, the cops and the killers, and then quietly reveals a hidden connection between them - a secret that I will not reveal, because it generates such a moral and emotional force at the end of the film. The second story involves the interaction between a small-town Arkansas sheriff and two tough Los Angeles cops who fly out to join him in a trap for the fugitives. The movie was written by Billy Bob Thornton and Tom Epperson, who begin by telling one story - about three criminals on the run from Los Angeles to Arkansas - and end by telling two. It's so rare to find a film in which the events are driven by people, not by chases or special effects.Īnd rarer still to find a story that subtly, insidiously gets us involved much more deeply than at first we realize, until at the end we're torn by what happens - by what has to happen. I have published two novellas set in Hedonism II, the notorious Jamaican resort and even one featuring a sentient sex robot.Yet no words of praise can quite reflect the seductive strength of “One False Move,” which begins as a crime story and ends as a human story in which everything that happens depends on the personalities of the characters. While my current focus is on stories featuring (in order of frequency) erotic combat, wet and messy, action-adventure and tickling, I’m open to anything which turns me (and hopefully you) on. The Mistress Megan stories take her through her development as a dominatrix during which she must satisfy their every fetish. Lusty Lee was a private investigator whose nemesis forced her to pursue him through a new kink in each episode. His stories feature a little fun, lots of sex, a little adventure, and Carter's special brand of justice. And if the reader cares about the characters, it is easier for him or her to identify with their arousal, to let that arousal tingle the reader’s own skin.Ĭhristopher Carter is a lawyer who’s into BDSM and other hijinks, most of them sexual. A story lets the reader start to care for the characters in it. If so, the first obligation of a writer of erotica is to arouse and I hope you feel that I have succeeded. I have heard say that the first obligation of a writer is to entertain. You will receive prompt notification of my new publications and special offers. If you would like to be on my mailing list, please click on the yellow button located just under my photo.
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