キリング・フィールズ 失踪地帯
"絶対に救い出す――。"
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刑事マイクと相棒のブライアンは、連続して発生した少女の失踪と殺人事件の捜査にあたっていたが、その矢先にブライアンが気にかけていた心に傷を抱えた少女アンも失踪してしまう。アンが事件に巻き込まれたと直感したブライアンは、犯罪が多発することで「キリング・フィールド（殺人地帯）」と呼ばれる危険地帯へと向かう。ブライアンからの連絡を受けて駆けつけたマイクと共に、ブライアンは瀕死のアンを見つける。アンをマイクに預け、ブライアンはマイクの犬と共に犯人を追うが、犯人ともみ合いになり、撃たれてしまう。一方、アンを救急に預けたマイクはブライアンのもとに急ぐが、そこに電話がかかり、ブライアンが死んだと知らされる。電話の発信元がアンの家付近であることから、真犯人がアンの母親で娼婦のルーシーの「客」の1人で以前から怪しいと睨んでいたライノであると気付いたマイクはアンの家に向かう。アンの家の前からマイクがかけた電話をきっかけに、ライノがアンを殺したと知らされたルーシーがライノと揉め、殺し合いとなる。マイクがかけつけると、ルーシーとアンの兄は死んでおり、ライノも瀕死の状態にあった。数ヶ月後、アンはかろうじて助かったブライアンと再会する。
興行収入: $957,240 (1億円)
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This place is nothing but chaos. Your God doesn’t even come here. Texas Killing Fields is directed by Ami Canaan Mann and written by Don Ferrarone. It stars Sam Worthington, Jeffrey Dean Morgan, Jessica Chastain, Chloe Grace Moretz, Jason Clarke, Annabeth Gish and Stephen Graham. Music is by Dickon Hinchliffe and cinematography by Stuart Dryburgh. Film is based around real events involving the many murders of women whose bodies have been found in a desolate area of road and wasteland between Houston and Galveston. Ami Canaan Mann is the daughter of Michael Mann, one of the masters of modern day crime story movies, so it’s not very surprising to see Ami, for her sophomore production, venture into murky waters. Texas Killing Fields is a bayou noir, where although the title hints at human devastation unbound, it’s actually a slow burning skin itcher more concerned with the people investigating crime than that of the perpetrators. How the sorry events affect all who come in to contact with the crimes at the film’s core, is what drives Texas Killing Fields on. Sadly the screenplay takes on board too much and nearly derails an otherwise very good movie. If it comes down to atmosphere and technical smarts in achieving such? Then this is one of the finest of recent times. There’s a constant sense of broody foreboding throughout, the haunting landscapes are all gnarly and spectre like, the whole area literally stinks of death and misery. Even when the story is away from the fields of the title, there’s a mood of despair filtering out from Mann and Dryburgh’s lenses, the hot Texas weather draining every ounce of sweat from the emotionally troubled detectives. All of the atmosphere is helped considerably by Hinchliffe’s music, which piggybacks the misery with ominous bluesy tones. Unfortunately all this deft atmospheric craft can’t stop the screenplay from being annoying. A sub-plot involving Worthington and Chastain as ex husband and wife is as pointless as it gets, which simultaneously wastes Chastain in the process. The makers have chosen to actually have suspects front and centre for the crimes on screen (unlike the real life cases, most of which remain unsolved), well they intend to keep it mysterious, but anyone paying attention will catch on quickly enough. There’s also problems with the sound mix, which at times is appalling, rendering some crucial dialogue exchanges as inaudible. Cast are good, especially Morgan and Moretz, and Mann shows a good hand at action sequences to compliment her astute mood setting skills. But this still feels like a misfire, and subsequent critical appraisals and internet rating systems have it as just above average. That’s a little unfair, there’s much for the neo-noir/crime movie crowd to get enthralled by here, but Mann may need to sharpen up her story telling whiles to fully bloom her undoubted potential. 6.5/10
