IMDb > A Single Shot (2013)
A Single Shot
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A Single Shot (2013) More at IMDbPro »

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A Single Shot -- The tragic death of a beautiful young girl starts a tense and atmospheric game of cat and mouse between hunter John Moon and the hardened backwater criminals out for his blood.
A Single Shot -- Clip: The Shot


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Matthew F. Jones (novel)
Matthew F. Jones (screenplay)
View company contact information for A Single Shot on IMDbPro.
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The tragic death of a beautiful young girl starts a tense and atmospheric game of cat and mouse between hunter John Moon and the hardened backwater criminals out for his blood. | Add synopsis »
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(150 articles)
Things People Do Review [SXSW 2014]
 (From We Got This Covered. 8 March 2014, 7:34 PM, PST)

Tribeca Film Festival 2013: ‘A Single Shot’ – Sam Rockwell Interview
 (From Blogomatic3000. 22 February 2014, 6:20 AM, PST)

A Single Shot Blu-Ray Review
 (From We Got This Covered. 25 January 2014, 12:18 PM, PST)

User Reviews:
An acting and cinematography showcase... See more (30 total) »


  (in credits order) (complete, awaiting verification)

Sam Rockwell ... John Moon

William H. Macy ... Pitt

Ted Levine ... Cecile

Kelly Reilly ... Jess

Jason Isaacs ... Waylon

Joe Anderson ... Obadiah

Jeffrey Wright ... Simon

Ophelia Lovibond ... Abbie

Amy Sloan ... Carla

W. Earl Brown ... Puffy

Heather Lind ... Mincy

Christie Burke ... Ingrid

Jenica Bergere ... Colette

Lana Giacose ... Angela

David Flannery ... Shitbird
rest of cast listed alphabetically:
Duffy ... Mutt
Michael Eisner ... Dean

Alan C. Peterson ... Cole
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Directed by
David M. Rosenthal 
Writing credits
Matthew F. Jones (novel)

Matthew F. Jones (screenplay)

Produced by
Chris Coen .... producer
Sam Englebardt .... executive producer
Sefton Fincham .... associate producer
Aaron L. Gilbert .... producer
C. Steve Goldstein .... co-executive producer
Katie Goodson .... co-producer
Margot Hand .... co-producer
Akshaii Hariharan .... co-producer
Raju Hariharan .... executive producer
William D. Johnson .... executive producer
Matthew F. Jones .... executive producer
Keith Kjarval .... producer
John Brooks Klingenbeck .... co-producer
Doug Min .... executive producer
John Raymonds .... executive producer
Jeff Rice .... producer
David M. Rosenthal .... executive producer
Ben Ruffman .... co-executive producer
Ian R. Smith .... line producer
Steven Thibault .... associate producer
Sean Thomas .... executive producer
Donna Valva .... associate producer
Michael Valva .... associate producer
Mary Vernieu .... co-producer
Billy Wirth .... co-executive producer
Original Music by
Atli Örvarsson 
Cinematography by
Eduard Grau 
Film Editing by
Dan Robinson 
Casting by
Venus Kanani 
Mary Vernieu 
Production Design by
David Brisbin 
Art Direction by
Cheryl Marion 
Set Decoration by
Josh Plaw 
Costume Design by
Beverley Wowchuk 
Makeup Department
Erin Froese .... hair stylist
Norma Hill-Patton .... makeup department head
Norma Hill-Patton .... makeup designer
Bill Terezakis .... special makeup effects designer
Production Management
Ian R. Smith .... unit production manager
Second Unit Director or Assistant Director
David Heimbecker .... second assistant director
Matthias Mellinghaus .... first assistant director
Art Department
Caitlin Byrnes .... art assistant
Luca Carati .... dresser
Ken Davies .... property master
Alyssa King .... set buyer
Carmen Lee .... art coordinator
Chris Nohel .... assistant decorator
Greg Williams .... set dresser
Sound Department
Kelly Cole .... sound re-recording mixer
Bernardo Six Costa .... sound mixer
Matt Dawson .... adr mixer
Enos Desjardins .... sound effects editor
Udit Duseja .... sound effects editor
Clemens Endreß .... foley artist
Clemens Endreß .... foley editor
Roland Heap .... sound designer
Roland Heap .... supervising sound editor
Graeme Hughes .... sound re-recording mixer
Bill Mellow .... sound re-recording mixer
Aaron Morgan .... adr mixer
Cory Sewell .... sound trainee
Marc Specter .... dialogue editor
Frank Verderosa .... adr recordist
Special Effects by
Garnet Harry .... special effects assistant
Joel Whist .... special effects coordinator
Visual Effects by
Christian Blaze .... visual effects supervisor
Romald Geoffery .... visual effects supervisor
John Kearns .... digital restoration artist
Darvin K. Manwah .... digital compositor: GFZ Studios
Brad Sutton .... digital restoration
Wilson Tang .... digital restoration
Camera and Electrical Department
Nicholas Dent .... grip
Lee Gibeau .... key grip
Finn King .... key grip
Steve Krasznai .... second assistant camera: "a" camera
David Lourie .... first assistant camera: "a" camera
David McKnight .... digital video assist
James Plannette .... gaffer
Adriene Wyse .... second assistant camera
Casting Department
Laurie Pavon Solis .... extras casting
Dylan Staniforth .... extras casting wrangler
Michelle Wade Byrd .... casting associate (as Michelle Wade)
Costume and Wardrobe Department
Lenah Hama .... costumer
Valeria Maichen .... background costumer
Laurel Morgan .... key costumer
Editorial Department
Sally Cooper .... first assistant editor
Sam Dewar .... assistant editor
Jason Fabbro .... additional digital colorist
Chris Jensen .... second colorist: Technicolor
Bruce Lomet .... digital intermediate producer
Carl S.G. Moore .... digital intermediate producer
Jennifer Pearson .... first assistant editor
Mark Sahagun .... digital intermediate editor
Derek M. Schneider .... data technician
Tim Stipan .... digital intermediate colorist
Dave Wilkinson .... colorist: dailies
Music Department
Andy Brown .... contractor
Jessica Dannheisser .... copyist
Dave Fleming .... composer: additional music
Stephen McLaughlin .... music producer
Claudio Olachea .... additional programming
Vladimir Podgoretsky .... orchestrator
Adam Schmidt .... sample development
Dan Wilcox .... music supervisor
Transportation Department
Suki Ardawa .... transportation
Other crew
Gabriel Adelman .... production intern
Tony Alcantar .... dialect coach
Daphne Batistella .... production intern
Paola Botero .... production assistant
Peter Cummings .... clearance/product placement coordinator
James Darby .... EPK director/editor
Ian Doig .... animal coordinator
Stephanie Hamilton .... production assistant
Kerry Hansen .... horse wrangler
Akshaii Hariharan .... assistant to director
Akshaii Hariharan .... assistant: David M. Rosenthal
Steven Hearn .... assistant location manager
Tyler Jackson .... assistant: Keith Kjarval
Krista Johnston .... clearances
Michael Aaron Keith .... production assistant
Jaime Kennedy .... animal trainer
Michael Lien .... production coordinator
Grace MacLeod .... animal trainer
Claudia Morgado Escanilla .... script supervisor
Jamie Payton .... horse wrangler
Karen Tony .... production accountant
Azia Tron .... business affairs coordinator
Chrissie Vides Alvarado .... executive assistant: Aaron L. Gilbert
Bill Vigars .... unit publicist
Tomas Wittrup .... production assistant
Daniel Woods .... assistant to the director
Larry Olmstead .... special thanks

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
Rated R for some strong violence, sexual content, nudity, language and brief drug use
116 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Canada:14A (British Columbia) | USA:R (certificate #48071)

Did You Know?

[first lines]
John Moon:Shit.
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9 out of 16 people found the following review useful.
An acting and cinematography showcase..., 13 September 2013
Author: The_After_Movie_Diner from United States

At first glance it is easy to think A Single Shot is a pretty enough, moody enough, well acted retread of themes and styles from Shallow Grave, A Simple Plan, No Country For Old Men or Winter's Bone and you'd be forgiven for thinking that because there is some element of truth in it. When it comes to plot and stylistic originality you won't find it here. What you will find is an engaging and expertly, if sometimes a little too authentically, played character study disguised as a generic, backwoods, crime thriller. So, my first piece of advice to you is to throw out the plot. Don't engage, as you normally would, through what the characters are doing but more with who the characters are.

The story, such as it is, focuses around Sam Rockwell's character, John Moon. Estranged from his wife Moira, played by Kelly Reilly (Sherlock Holmes), he lives near to some conservation land, where he routinely goes hunting, despite being caught and charged for doing so on numerous occasions. He's a simple, proud man of few words just trying to put his life back together. While out hunting on this land one morning, trying to catch a deer, he accidentally shoots a woman who, he later finds out, is carrying a ton of cash with her. Despite being definitely distraught at his accidental actions, he knows that to report them would mean jail time. Instead he hides the body, takes the money and is determined to get his life, meaning his wife and child, back. However, the money, of course, is linked to a web of unsavoury characters who, one by one, try and get their hands on it. Tobacco is chewed, lines are mumbled in thick, heavy accented drawls and bodies pile up. Will John Moon come out on top or is his demise inevitable?

The press release describes the film as a tense and atmospheric game of cat and mouse and if that was the honest intention of the film then, I am sorry to say, it fails. It's too slow moving, too drenched in melancholy strings and blue, grey, damp photography. The characters aren't menacing or threatening enough and, more often than not, the tension is lost as you are straining to understand what the hell is going on as some terrific actors grumble, twitch and spit through thick beards and thicker accents. I like to believe, though, that the film is more than that. More than a generic cat and mouse thriller about a bag of money and some grubby but pleasingly quirky hillbillies. It might just be his acting and his endless watchability, but I think the film is most successful as an in-depth and tragic character study of Sam Rockwell's John Moon. Studying and delving in to, as it does, ideas of lost opportunity, loss of love, pride coming before a fall, having the strength to survive, betrayal, fear, not being able to see the wood for the trees (which is indicated in several nice visual clues) and making your bed and damn well having to lie in it. On this level the film succeeds handsomely and Rockwell, also serving as producer on the film, gives a, at first, gruff and almost monosyllabic and unsympathetic performance that grows, over the running time, into a tragic, sometimes heart wrenchingly unlucky and down trodden character that you root for to, some how, find a way out of his predicament, even though your brain can't find one and you probably know that an easy resolution will not be forthcoming. He has surrounded himself well with the cream of character actors, the sort of 2nd tier players who are a sheer delight to just recline and watch act.

William H Macy, sporting an outrageously bad toupee, a suspect moustache, a sports jacket worthy of a scuzzy car salesman from the 50s and affecting a handicap in the form of a damaged arm and limp, gives a performance that dances neatly along the line of parody and awards worthy that he, and his peers, have so perfected in their work with the Coens. He is weasley, sinister, pathetic, dangerous, unnerving and humorous all rolled into one and the film could've used a lot more of him.

The film also features great but, sadly, tiny performances from Ted Levine, Jason Isaacs and Melissa Leo who, I doubt, get much more screen time, combined, than you'd be easily able to count on two hands. The only other stand out actor worth a mention being, the always worth the price of admission, Jeffrey Wright. His performance, as a wild, reckless, drunkard friend of John Moon is fantastic and combines almost every tick, twitch and technique an actor can deploy to best portray an alcoholic red neck. The only downside to this is, as the film enters its third act, Wright shows up to deliver some important plot information but it gets buried under piles of grime, dribble, tobacco, alcoholic slurring, an indecipherable accent and a crap flecked thicket of facial hair. As superb and as delightful as the mud smeared technique is, it's this scene that almost derails the film, that is if you are still trying to figure out what is going on but, I've already told you, the plot is not important.

Much like the plot, though, the downfall in the direction is that the film feels all too familiar. From the colour palette to the score (which features the, too often used, discordant pizzicato strings) nothing here feels different from something you've seen a hundred times before and while the techniques on display are exemplary, the lack of anything new can make parts of the, already slow, film drag.

That being said it does feel authentic and atmospheric. The set dressing, the costumes, the location and the lighting also do their part to help you feel the cold, the damp, the dirt and the drink.

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