A slow-paced serial killer-thriller of sorts, Texas Killing Fields is high on mood, but low on bang for your buck.

Loosely based on a series of real-life murders which has plagued the area between Houston and Galveston since the 70s, the story languidly drifts from scene to scene before picking up the pace in a chaotic climax.

Sam Worthington and Jeffrey Dean Morgan play the law enforcement buddies, drawn from their Texas City beat to the notorious ‘killing fields’ as they look into the disappearance and murder of a number of local women.

A few suspects and red herrings are thrown the audience’s way, but the film seems more interested in evoking a mood than being a straightforward whodunit.

That’s all well and good, but so many scenes simply amble along that it is a real test of patience to stick with it.

There is also a problem with the dialogue track, with many scenes pretty difficult to follow due to mumbled speech.

Worthington and Morgan are perfectly fine, and provide an interesting duo that holds the whole thing together neatly.

And there is also solid support from the ubiquitous Chloe Grace Moretz, along with Jessica Chastain and Stephen Graham.

The direction from Ami Canaan Mann is assured (with production duties from her father Michael no less) and a handful of scenes, with mist swirling across the bayous, are real class.

The locations also have a massive part to play, and somewhat understandably, become a central character themselves.

But all of those positives are unable to drag Texas Killing Fields above being a passable, yet forgettable, slice of entertainment.


EXTRAS: Trailer

About The Author

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Simon is a journalism tutor in London, who also just happens to be a movie fanatic, with a craving for the darker side of cinema. He has written three books - on the horror films of director Bob Clark (2014), the history of the character Norman Bates (2015) and the work of British exploitation director Pete Walker (2017). He is currently working with director Richard Loncraine to explore all avenues in a bid to orchestrate the re-release of 1978 Mia Farrow chiller Full Circle