A series of victims, each with the same puncture wounds on the back of their necks. They bleed from their noses, their ears, their eyes. They bleed and they die. The only thing that connects them is a mysterious woman in a blue hoodie, who seems to have visited each before they died. When Locke (Boyd Holbrook) and his partner Maddox (Bokeem Woodbine) investigate, along with their Lieutenant Holt (Michael C. Hall), what they uncover makes little sense.
Turns out, thanks to a glitch in the moon, every 9 years this hoodie woman (Cleopatra Coleman) gets to visit from the future and assassinate a few select people who would eventually contribute to Earth’s destruction. It’s like going back in time to kill Hitler’s grandparents. It’s for the good of humanity, but try telling that to the beat cop on the case. Locke gets a sense of this but no one else believes him, which means that every 9 years he gets crazier, more obsessed, more fixated on a narrative that can’t possibly be true.
The plot’s a little bumbly so it’s better to focus on how isolating it would be to hold a tiny piece of history secret in your heart, to chase a serial killer who reincarnates every 9 years, even after you think you’ve killed her. There’s no scenario in which that makes you a better person. Which the voice-over narration tells you pretty bluntly. And the thing about voice-over narration is that it’s usually used to mask glaring holes in a story that the film isn’t up to showing in a less obtrusive, sermonizing way. It’s rarely a good thing. And as you might guess, as we gain understanding of these slayings, the movie’s tone shifts from detective whodunnit to preachy science fiction – not exactly my favourite.
Jim Mickle’s In The Shadow Of The Moon starts off with promise and then declines steadily from there, perhaps falling to its own ambition, which does not incline me toward forgiveness.