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I would understand annoyance, befuddlement, shock or incredulity and I imagine director Jim Mickle would empathise but as I scratched my head, I also found myself oddly charmed by its brazen nuttiness, a film aiming for the stars and, sometimes, almost succeeding. The first scene is set in , a brief tease of a future rife with anarchy, smashed office windows looking down on to a street filled with fiery chaos.

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With ambitions to become a detective, officer Thomas Lockhart Boyd Holbrook inserts himself into the investigation, soon launched on the trail of a young female killer who evades capture with ease. To say much more would, in my mind, be a spoiler, but moving forward, the film makes full use of its time-jumping structure as well as its utter indefinability, wildly racing ahead at full speed, switching from detective thriller to science fiction to social parable without stopping to take a breath.


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There are good intentions behind the film and if the script, from Gregory Weidman and Geoffrey Tock, gets muddled, Mickle is a reliable hand behind the camera. One of the most common critiques of the many, many Netflix original movies that get spewed out on a weekly basis is an overwhelming flatness, each looking as cheaply, anonymously assembled as the last. It feels like an actual movie with a distinct style and a number of diverting action sequences, choreographed with care.


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  • In the Shadow of the Moon opens on Philidelphia in ; an abandoned office building trembles and quakes while explosions and alarms rage outside. As the camera pans in to reveal a world on fire, a familiar but markedly different version of the American flag drifts through the flame. On an October night like any other, three seemingly unconnected people drop dead in gruesome fashion; hemorrhaging so profusely their brain spill out of their nose.


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    • When Locke discovers all the victims share the same puncture wound in their necks, it quickly leads him to the culprit — a young woman named Rya Cleopatra Coleman , wearing a blue hoodie with an injured hand — who leads Locke on a foot chase down to the subway, where they have a chilling confrontation.

      They have a fight and Rya gets the upper hand, handcuffing Locke to a bench, but not before he tazes her and she falls into an oncoming train, dying on the spot.

      The Shadow () - IMDb

      And again in And in That answers her mysterious apology, and as for the wound on her hand? Lock gives that to her in And then this thing happens to him that completely shakes him and throws him off.

      Carl Jung's Philosophy of The Shadow

      His attack was just the first. Eleven thousand people died the first morning.

      In the Shadow of the Moon

      Millions more in the civil war that followed. Their final meeting is her first stop, where she meets her grandfather on what is also the day of her birth. For Mickle, that counter-arc dynamic and the opportunity to subvert romantic expectations was one of the most interesting parts of the script.