If there’s one thing to be said about the All-American Rejects’ new video, it’s that you’ve certainly seen it all before.
Not that that’s a bad thing. Actually, that’s kind of the point of the “Move Along” clip, which the band just shot with now-ubiquitous director Marc Webb. (Seriously, can the dude teleport or something?) The video features the Rejects starring in a series of vignettes that depict moments everyone has been through, moments during which we wish we could just “move along” from, including a fender-bender, a breakup and a fight between parents.
The “Move Along” clip — the second from the Rejects’ album of the same name (see “All-American Rejects ’Had To Step It Up’ On New LP — Or Else” ) — plays out as a series of snapshots, with the camera locked in the same position and with frontman Tyson Ritter playing the victim throughout. Webb shot each scene with the same lens to give the video a uniform look. As the pace of the song quickens, the cutting between each vignette gets faster while Ritter remains stationary, giving the video the appearance of stop-motion (such as in Peter Gabriel’s classic “Sledgehammer” clip).
As the video progresses, Ritter is replaced by the rest of the Rejects and then, finally, by real AAR fans, who take turns playing the victims in different scenarios. As Webb writes in his treatment, the clip becomes “a barrage of youth — short kids, tall kids, black kids, white kids, fat kids, sexy kids. Everyone will see a reflection of themselves.”
All the while the cuts become faster and faster until, at the height of the visual barrage, everything stops, and we’re left with the (somewhat unexplained) image of Ritter standing alone on a diving board, perched high atop an empty concrete pool. As the action grinds to a halt, Ritter takes a swan dive. It appears that he’s as good as splattered until a sea of hands rise out of the pool — all the Rejects’ fans — helping brace his fall and carry him to safety.
With that, we’re off to a full-band performance (complete with rocking-out fans), and for once in the clip, the Rejects aren’t the victims — they’re the full-on aggressors.