ONE FALSE MOVE was the Summer of ’92’s little crime movie that could. Like POISON IVY’s Katt Shea, director Carl Franklin was an actor turned director of Roger Corman productions (NOWHERE TO RUN, EYE OF THE EAGLE 2: INSIDE THE ENEMY, FULL FATHOM FIVE). Here he moved into the film festival/arthouse side of the indie world, having come across a hot screenplay from the new writing team of Billy Bob Thornton (an actor who had been in HUNTER’S BLOOD, GOING OVERBOARD, CHOPPER CHICKS IN ZOMBIETOWN, an episode of Knots Landing, etc.) & Tom Epperson.
Thornton told Entertainment Weekly at the time that they’d been trying to get it made for five years. He said the studios “all pounced on it” but then decided they couldn’t make it because “it didn’t have a rocket launcher or an oversized baby.*” Instead it was produced independently through I.R.S. Media (hip record label and makers of Cynthia Rothrock’s RAGE AND HONOR I & II), completing it in May of ’91. It sat on a shelf for a year except for playing some film festivals, where it was well received enough that the producer convinced I.R.S. to release it in a few cities on May 8, 1992, ostensibly to get review quotes for the VHS cover. It did better than they expected, though, and eventually expanded to 51 markets. (read the rest of this shit…)
The year was 2000. For the the third year in a row, Sam Raimi released a “this is the more serious Sam Raimi” type of movie. Though it combines a thriller story with southern gothic atmosphere and some supernatural elements, it’s his only movie to date that seems in a similar mode to 
