Tag Archives: Michael Smiley

320. A FIELD IN ENGLAND (2013)


“I think I have worked out what God is punishing us for: everything.”—Friend, A Field in England

“So here’s to the mushroom family
A far-flung friendly clan
For food, for fun, for poison
They are a help to man.”

Gary Snider, “The Wild Mushroom”


FEATURING: Reece Shearsmith, , Peter Ferdinando, Richard Glover, Ryan Pope

PLOT: The English Civil War rages, and a group of deserters bands together. Through bribes, threats, and hallucinogens, an occultist’s agent induces a scholar, a soldier, and a simpleton to aid him in summoning his master, O’Neal. Once brought on to this plane, O’Neal forces the trio to seek and find a treasure of immeasurable value—under pain of annihilation.

Still from A Field in England (2013)


  • A Field in England was the first major motion picture to be released simultaneously in cinemas, on DVD, video-on-demand, and broadcast television.
  • The film’s budget was a modest £300,000 ($420,000 US) and took only twelve days to shoot.
  • No females appear on screen throughout the film, though the eponymous “field” is voiced (in a manner of speaking) by a woman.
  • On the film’s release, a craft beer was made available to cinema-goers with the film’s informal tagline, “Open Up and Let the Devil In.”
  • A limited (400-count) special edition double-vinyl soundtrack album went on sale accompanying the film’s release. For the true fan, a handful of these soundtracks included a blade of grass purportedly plucked from the titular field.
  • The number “320” suggests a strong bond to the spiritual and occult world.
  • Giles EdwardsStaff Pick for the Certified Weird List.

INDELIBLE IMAGE: Seeing as how the film begins with a warning about “flashing images and stroboscopic sequences”, there are any number of images that might qualify (though by their very stroboscopic nature, they may be more of a subconscious kind-of-thing). However, the film’s coupling of sinister madness and unlikely humor is perhaps best exemplified by the shot of five souls romping through the field while in search of the mysterious treasure. (Although an earlier scene with a “giddy” protagonist is impossible to erase from one’s mind.)

THREE WEIRD THINGS: Magic mushroom faerie ring; tableaux “frieze” frames; tent from Hell

WHAT MAKES IT WEIRD: Much like the instrumental meal in the story, the movie’s ingredients all work together toward weird ends—individually they are weird, and together they are greater than the weird sum of their parts. The viewer is presented with a black-and-white period piece with amusing, earthy dialogue and hallucinogens in lieu of sweeping drama and battle scenes. Lightning-fast editing, nebulous exposition, and too many occult nods to count all crash together like an ill planet upon the unsuspecting viewer.

Original U.K. trailer for A Field in England

COMMENTS: We hear a man running breathlessly and see a wild Continue reading 320. A FIELD IN ENGLAND (2013)



DIRECTED BY: Ben Wheatley

FEATURING: Neil Maskell, MyAnna Buring, , Harry Simpson, Emma Fryer

PLOT: Jay the hitman, out of the game and down on his luck, takes up a new contract with his partner Gal to help support his wife and young son. As they start knocking people off a “Kill List,” Jay finds the targets challenging his principles, his relationships, and eventually, his grip on reality.

Still from Kill List (2011)

WHY IT WON’T MAKE THE LIST: Though it will be of great interest to art-house audiences and fans of weird movies, the film doesn’t take as many risks as it would like to claim. It’s full of symbolic echoes and studied ambiguity, but there are no outright challenges to our expectations or sensibilities.

COMMENTS: Kill List is an excellent genre-hopping horror thriller, full of smart directorial choices and technical chops. The atmosphere is both sanitized and gritty, in that special way you find in cinema verite, and the sense of dread and instability is overpowering. Jay is sometimes sympathetic and sometimes terrifying, and Neil Maskell nails the role in all its variation. When the violence comes, it’s brutal and unflinching, with no glorification, and in this violence, you get the most striking indication that Neil is dangerously damaged.

The film shows its technical merit early, with a succession of domestic scenes that allow us a rich sense of the main characters and their relationships. Jay is stuck in the inertia of unemployment after a bad experience in the army and a job that apparently went south in Kiev. His relationship with his wife is rocky, but not doomed, and if you were coming into Kill List with no expectations whatsoever, you could be forgiven for expecting Jay to go through a dramedy-style self-discovery that ends with the renewal of his marriage. During these opening scenes, you get moments of genuine tenderness, especially between Jay and his son. Jay becomes a great father when he spends time with Sam; furthermore, his friendship with Gal Continue reading CAPSULE: KILL LIST (2011)