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アンダートウ 決死の逃亡
アンダートウ 決死の逃亡

アンダートウ 決死の逃亡

20041h 48m★ 6.0ドラマスリラー

あらすじ

No synopsis available.

作品考察・見どころ

デヴィッド・ゴードン・グリーン監督が紡ぎ出す、アメリカ南部の湿り気と埃っぽさが同居する映像美は圧巻です。叙情的なカメラワークと、静寂の中に潜む暴力的な予感が、単なるスリラーを超えた芸術的な深みを与えています。自然の美しさと逃亡劇の緊張感が交錯する瞬間、観客は逃げ場のない焦燥感に飲み込まれるはずです。 ジェイミー・ベルの泥臭くも繊細な身体表現と、ジョシュ・ルーカスが放つ禍々しい威圧感の対峙から目が離せません。本作が描くのは、血縁という逃れられない呪縛と、無垢な少年期が終わりを告げる残酷な通過儀礼です。泥にまみれ、傷を負いながら進む兄弟の姿は、生きることの根源的な痛みを鮮烈に突きつけてきます。

興行成績

興行収入: $156,767 (0億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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キャスト

Jamie Bell
Jamie Bell
Chris Munn
ジョシュ・ルーカス
ジョシュ・ルーカス
Deel Munn
ダーモット・マローニー
ダーモット・マローニー
John Munn
Devon Alan
Devon Alan
Tim Munn
クリステン・スチュワート
クリステン・スチュワート
Lila
Robert Longstreet
Robert Longstreet
Bern
Terry Loughlin
Terry Loughlin
Officer Clayton
Eddie Rouse
Eddie Rouse
Wadsworth Pela
Patrice Johnson
Patrice Johnson
Amica Pela
No Image
Charles 'Jester' Poston
Hard Hat Dandy

スタッフ・制作会社

監督: デヴィッド・ゴードン・グリーン

脚本: Joe Conway / デヴィッド・ゴードン・グリーン / テレンス・マリック

音楽: Philip Glass

制作: Alessandro Camon / サール・クライン / John Schmidt

撮影監督: Tim Orr

制作会社: ContentFilm / Sunflower Productions / United Artists

TMDB ユーザーのレビュー

Wuchak
Wuchak
★ 7

***Haunting and surreal Southern Gothic is nigh post-apocalyptic*** Two boys living with their father (Dermot Mulroney) in rural Georgia near Savannah (where the film was shot) try to eke out a living off the land. Chris (Jamie Bell) is about 16 and Tim around 10; both manifest their grief over their dead mother and the challenges of their destitute isolation in different ways: Chris gets in trouble with the law while Tim strangely seems preoccupied with consuming non-edible items. Their father's brother (Josh Lucas) comes to visit and seems affable enough, but there's a wild, sinister glint in his eyes. No wonder, he's inwardly frothing with hostility and greed. David Gordon Green's "Undertow" (2004) is a bit reminiscent of Terrence Malick's "Days of Heaven" (1978) in that both are realistic dramas focusing on youths in rural areas and both offer a dreamy viewing experience. Each tries hard to enchant with their movie magic. Unlike "Days," however, "Undertow" is rooted in Southern Gothic. Of the two, I favor "Undertow." After viewing the director’s awesome "Snow Angels" (2007), easily one of the greatest dramas ever filmed, I decided to give this one, his previous film, another chance. I'm glad I did because "Undertow" is the type of movie that improves on repeat viewings. But these types of arty flicks aren't for everyone. Those bred on modern blockbusters will likely find "Undertow" dull, meandering and pointless. I myself wasn't all that impressed the first time I watched it. I didn't hate it; I just didn't "get" it. I'm glad I gave it a second (and third) chance, however, because "Undertow" succeeded in pulling me in under its spell. You just have to be in the right mode for a film of this ilk. The "dreamy" quality noted above is facilitated by Philip Glass' mesmerizing score that plays during the opening and closing credits. It's simple and repetitive, but spellbinding. I've gone to the credits a few times just to enjoy this brilliant piece. Being a Southern Gothic drama/thriller, "Undertow" has a cool Southern ambiance with focus on the rural underbelly. Other films that are successful in this regard come to mind: "The General's Daughter," "Ode to Billy Joe," "I Walk the Line" (with Gregory Peck, 1970), "Mississippi Burning," "Squirm," "The Man in the Moon" and "The Skeleton Key." If you have a taste for these types of films, including the aforementioned "Days of Heaven," you'll likely appreciate "Undertow." The difference with “Undertow” is that it concentrates so exclusively on pastoral paucity that it cops a poetic post-apocalyptic ambiance. The film runs 1 hour, 48 minutes. Kristen Stewart has a small role in the first act. GRADE: B/B-

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