This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 280! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.
Hey Friends!
Okay, today we’re talking about “In the Shadow of the Moon,” this 2019 film that seriously had me tripping more than once. Directed by Jim Mickle, it’s kind of like if “True Detective” and “Back to the Future” had a baby, then that baby wandered into a sci-fi horror convention. Wild right?
So, picture this: you start off in 1988 with a homicide cop named Thomas Lockhart (Boyd Holbrook) who’s dealing with a bizarre case. People are dropping dead in Philly with injuries that make zero sense. Like, Mystery Incorporated, bring out the magnifying glasses and Scooby Snacks, folks.
Boyd Holbrook, interestingly enough, kind of has that rugged charm, you know? The whole, “I’m-too-troubled-by-dark-secrets-but-also-stunningly-handsome” vibe. I remember seeing him in “Narcos” and thinking, “This dude’s got that whole hard-boiled detective thing down pat.” Also, Michael C. Hall—yes, good old Dexter shows up! He plays Holbrook’s brother-in-law, Maddox, and gets to rock one hell of a retro mustache. Just seeing him, I half-expected him to whip out a scalpel and a roll of plastic wrap. But, no, this time it’s legit police procedural stuff. Phew.
So the plot thickens when Lockhart’s trying to wrap his head around a criminal who seems to be operating outside the boundaries of normal time. Hold the phone, right? You discover that this mystery woman, played by Cleopatra Coleman, appears every 9 years and leaves a trail of chaos. And can I just say, Cleopatra Coleman’s performance? She brought this mix of intensity and elegance that makes her character super compelling.
Fast-forward from ’88 to ’97, and you see Lockhart’s life falling apart. Dude’s obsessed! He’s got walls covered in Polaroids, red string, and a terrifying lack of sleep. By 2006, he looks like he’s permanently two weeks from retirement but still too wired to quit. The chase envelopes decades, and you can feel the weight of obsession clouding his every judgment. Like, take a nap, man. Please?
The movie’s pretty nifty with its time-hopping shenanigans, though. At first, you’re like: “Wait, isn’t this supposed to be a murder mystery?” And then there’s a sci-fi twist that’ll have your brain doing 180s. How they twist narrative timelines together—it’s almost poetic.
And visuals? You can’t talk about this movie without mentioning the aesthetic. It’s got this neo-noir vibe—dark, moody, with splashes of neon against grim Philly streets. Sometimes you feel like you’re walking through a fever dream. The soundtrack too, befits the eerie, brooding atmosphere Mickle’s going for. It’s like if synthwave and noir jazz had a lovechild.
Honestly, the film’s deeper theme is what’s killer (pun intended). It dives into the morality of taking lives to prevent future deaths—a debate as old as time travel narratives themselves. What kind of puzzle pieces do you leave behind, and what becomes of your sense of self when you’ve sacrificed everything for what you believe to be righteous?
It’s not perfect, though. Some parts had me like, “Um, plot logic? Catch you later?” But hey, it’s a movie—gotta roll with the punches, right? The acting caliber kept me hooked, even when pacing got a bit bumpy. And nothing beats a film that leaves you mentally chewing on it for days. It’s like that weird candy you didn’t think you’d like but ends up being strangely addictive.
So, if you’re up for a head-scratcher that’s part crime thriller, part sci-fi puzzle box, give “In the Shadow of the Moon” a whirl — and let yourself get lost in the mayhem of time loops, existential dread, and lunar lore.
TTNF,
Roger