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Norman Bates mopping the blood off of the tiles in Room #1, mopping mopping mopping, and we're right there with him, our brains in the mental anguish of missing a spot even as the lady we loved only a moment before drains out in the car trunk - that's how you shift an audience's allegiances, and Kelly Reichardt proves herself a bit of a master at that with Night Moves. Not that we didn't already consider Reichardt a master at whatever she tried to do four solid movies into our infatuation, but this one proves something a little bit more explicitly than those previous flicks - she's making some of the scariest, most tense movies out there. Looking back it's plain to see - think of that homeless man silently attacking Michelle Williams in the middle of the night in Wendy & Lucy and cherish that shudder shooting down your spine - but here she's tip-toeing right along the genre line. We've seen this story before, but Reichardt makes it all hers and then some. I can't even foresee a year so good that Night Moves won't be one of the best movies you're gonna see, so see it.
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