Renee McCartney Sue as Sue. Tom Mattera David Mazzoni. More like this. Watch options. Storyline Edit. A young boy goes to live with his grandparents while his mother and father fight to save their failing marriage, and makes a horrifying discovery in the cornfield behind their house during the Manson Family trials.
Warned by his grandmother to stay away from the fields, young Steven nevertheless strays into the stalks and sees something he will never forget. Meanwhile, as the nightly newscasts offer all the lurid details of the Manson murders, something begins to stir in the corn field. By the time the family dogs disappear and the threat becomes real, it's already too late to run, and Steven must face his greatest fear head on.
Not Rated. Did you know Edit. Thanks, but I think we are good". Goofs When Barry stops his car after seeing Steven in the cornfield, you can see crew members shadows on the corn. User reviews 50 Review.
Top review. The body in the woods had more forward motion than the movie. She and Appleton, as her husband, have some great back-and-forth grandparent banter. Reid phones in her performance; the only noteworthy aspect is that she brandishes a brunette wig. Leachman and Reid are top billed, naturally, but Ormond is really the star.
With two directors — Tom Mattera and David Mazzoni — calling the shots, one would think that the film would have some semblance of, you know, direction. They worked with what they had: an unfocused script by first time writer go figure Harrison Smith. Some may see The Fields as a suspenseful, slow burning thriller. Most, however, are likely to be bored by the haphazard plot, half-baked ideas and lack of payoff.
It is proof that no amount of star power can save a bad script. I grew up in the area. Sydney Schanberg Waterston wins a journalism award for his coverage of the conflict in Cambodia, although he is deepened saddened by the fact that he didn't do enough to get his friend Dith Pran Ngor out of Cambodia.
Pran still in capativity, escapes the compound after a brief battle between Khmer Rouge soldiers and two jets sent to destroy the camp. Pran and two other prisoners including the camp leader's young son follow Pran through the jungle. The other companion steps on a land mine while carrying the child, and before he could give the child to Pran, the mine set off, killing them both.
Pran gives the boy a small funeral while he mourns, and then continues his journey. He eventually climbs on top of a mountain to discover a Red Cross Camp nearby. The last scene is back in Cambodia where Pran is helping a young boy in hospital, when he is asked to go outside. The time is the s, but it could be the s for all that life has changed in this soggy and overcast backwater, where the miserable McCabe and his retarded son, Tad, haul wicker baskets full of seaweed up the cruel cliffs and dump them on the field, as their fathers and the fathers of their fathers have done before them.
Then a slick Irish-American Tom Berenger comes to town, smoking cigarettes and wearing a camel-hair overcoat, and he wants to buy the field, in order to strip-mine it, I think. Harris growls and howls and looks like Lear as he wades about in the bitter sea and strides through the mud and peat, and there is no doubting this is a good performance, but in the service of a hopeless cause.
If I were watching this as a play, I might just be able to care about the field, if it were located far offstage. Why does he need to strip the field when if there is one thing the district has more of than fields, it is mineral rights, and if there is one thing it has no need of, it is gravel?
No, this play is not about the field, it is about eternal questions.
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