Fields [Blu-ray] [Import]

More than forty years after the events of the Manson Family murders we have "The Fields," a very unique and brooding film from directors Tom Mattera and David Mazzoni. A combination of "Zodiac," "The Strangers," and steeped in America's shock and mourning over the Sharon Tate murders, "The Fields" is very much a different beast from your usual serial killer movie fare. Because this is not a serial killer movie. Yes, Charles Manson and his family play a large part in the events of this film, but this isn't a blood-and-guts affair. It's very much an examination of small-town life in 1973, and the effect that news of Manson's possibly imminent parole has on its citizens.

Steven, a young, curly-haired kid, is shipped off to the isolated farm owned by his grandparents (Tom McCarthy and Cloris Leachman) after a very ugly domestic dispute goes down between his parents (Faust Checho and Tara Reid). The parents need to sort out their issues, and both agree Steven should not be around to witness it. "The Fields" is told through his eyes, and his fear of Charles Manson being released from prison begins to take hold of him. Very strange and suspicious characters are scattered throughout the film, including Eugene, a farm hand with not too much going on upstairs. His first appearance is very unsettling, and with Manson-like floating arms and lilting voice, your immediate first thought is that young Steven's fears have come true - that Manson has been paroled after all, and has come for him.

But this isn't that kind of movie. It's much smarter than that. It's very much about the duplication of evil in our world. It suggests that evil is cyclical, and that it's born at home, in basements right beneath our feet. It is Steven's fear of Charles Manson that drives the film, and because he is your narrator, you immediately question the things he is seeing - like the demented carnival he discovers after crossing through his grandparents' cornfield, or the body of the young girl in this same field so very close to their front door...

As for the events of the film experienced through Steven's eyes, you might find yourself asking: What's real? What's not? Unlike other films of its ilk, "The Fields" does answer those questions. It's certainly not for everyone; it has an established pace and it takes its time telling you just enough to wonder what the hell you're being told in the first place. Despite this, it's never a frustrating view, and for me was a pleasant surprise.

Fans looking for something grislier should look elsewhere, but those looking for a meditative slow burn should seriously consider a trip to "The Fields."

Read a more comprehensive and uncensored review at The End of Summer by clicking my username.

The list of great things in this movie is substantial. Everything from the locations and music to camera angles and lighting is superb for a modest-budget film (or genre film, really). And the acting is top-notch. Cloris Leachman is amazing and it's no exaggeration to say that in a different kind of movie, an Oscar nomination for supporting actress would not be out of the question. The viewpoint of the film is largely that of 8-year-old Steven, played magnificently by Joshua Ormond.

So why did "The Fields" leave me feeling so disappointed?

It comes down to the story, which is a memoir of actual events in the life of scriptwriter Harrison Smith. And it just doesn't add up to that much. Don't get me wrong--I don't demand that every movie I see be "The Avengers." I like smaller, quieter movies that focus on relationships and character. But in a story that amounts to a modified version of the "home invasion" horror sub-genre, more must go on than an old couple and a kid being scared and running around. I almost wished the movie didn't have any horror or thriller elements at all since as a slice-of-life drama, it rose above its material.

Think of it this way: Suppose you got on a roller coaster, and the car chugs high up an incline to the top of the tracks--and then you go down at a leisurely pace with maybe a slight twist here and gentle turn there...but the view is amazing. That's the case with "The Fields." Everything about the scenery is well-done, but that is one tame ride.

Having said that: MORE LEACHMAN! Betty White gets all of the old lady parts. No fair--the 86-year-old Leachman can not only match White's comedic talents, but she clearly has superior dramatic chops (White's cameo in Lake Placidwas fun, but she played essentially the same person she always does--whereas Leachman is a revelation in "Fields").

In this age of Superheroes, glittery vampires and recycled, re-purposed story lines where acting and writing take a back seat to "who can come up with the coolest CGI," occasionally a real film sneaks in. The Fields is a throwback to when movies actually had substance, superb acting, writing, directing, cinematography, the whole magilla. I don't recall a suspense film being made in the past 5 years that drew mystery up from the screen like a smoking tendril from the end of a cigarette. This film does that and more. From the stunning visuals, to the use of imagery though positioning, The Fields is unique. The field, obviously a character in the film is in the present with a crossroads at the opening with a secret. To the east and west of that secret are two possibilities personified by those who occupy those locations. Surrounding it are the players - all who have beaten their own paths outside of the stalks that encase a young boy's imagination and curiosity about all of the people who surround him but reach beyond his youthful understanding. Then there's the setting, which to my recollection, has been untapped, the early 1970's coming out of the turmoil of the 1960's following the Manson family's rise to fame. Of particular note, the writing is...well, no words - it's that good. Dialogue, story, settings - just plain crafted as opposed to some replicated garbage that most Hollywood studios prepare for investors as opposed to the art of filmmaking. What stood out most to me though, was the characters. Not only were they robust, but their interactions were real. No shortcuts, no convenient props to push them along and force their communications/interactions. Each character held his/her ground and reacted the way you would expect them too, based on their personalities. Particularly Bonnie and Barry. There were times I wanted to shake the hell out of them and tell them to get their acts together and get to parenting! This along with Howard Ford's "The Dead" are my favorite films of 2012. YES - even over the Avengers and every other CGI manufactured story that has been adapted from previous work. Great job cast and crew of "The Fields!" Good to know there are still filmmakers out there that care about craft.