In the English countryside, a skirmish unfolds, a small part of the conflicts from centuries ago. Whitehead (Reece Shearsmith) finds himself caught up in this situation, clearly not a soldier and uncomfortable with the violence surrounding him. He’s accompanied by Jacob, Cutler, and Friend, who joins them after recovering from a concussion. It turns out that one side was searching for O'Neill (Michael Smiley), an alchemist’s assistant accused of stealing important documents to practice dark magic. Whitehead had been sent to track down O'Neill, but the group decides they’d rather find a nearby pub instead of continuing their mission. They’re also hungry, so Cutler proposes making a stew from mushrooms growing in a circle within the field. As they investigate, they discover a man tied up – it’s O’Neill himself. Stories circulate about how time behaves differently inside these mushroom circles, potentially affecting density. The mushrooms seem to be causing strange effects on the group, and soon they realize they've been ensnared rather than doing the catching. It becomes unclear who is responsible for what, and someone wonders aloud just how far away that pub actually is. Ben Wheatley’s latest film, *A Field in England*, written with Amy Jump, takes a bizarre turn after about thirty minutes, plunging viewers into a hallucinatory experience alongside the characters. The movie incorporates slow motion, unsettling smiles reminiscent of Aphex Twin, references to historical illnesses, and moments where everyone freezes like figures in a wood carving. There’s even an extended sequence featuring strobe effects and industrial soundscapes. The film isn't without its issues. Some viewers will likely be divided by the psychedelic sequences; while it’s clear that the mushrooms are the cause, these episodes can feel drawn out and self-indulgent, as if prioritizing strangeness over substance. The black and white cinematography works well, but the crisp digital video gives the film a somewhat amateurish look, detracting from any sense of period authenticity. The comedic elements delivered by Reece Shearsmith and Richard Glover are welcome, but the limited cast and single location make it feel like an episode of *The Comic Strip Presents...*, though not one of its best; more akin to *Les Dogs* or *Spaghetti Hoops*. It’s surprising given the film's relatively modest £300,000 budget. I appreciate Wheatley’s work, but something feels off. He seems to struggle with conveying his message clearly and later attempts to explain any gaps in logic. *Kill List* was brilliant but felt unfinished, and interviews suggested that some exposition had been accidentally cut during editing. In a DVD interview, Wheatley suggests *A Field in England* serves as a sort of unofficial prequel to *Kill List*, explaining the origins of the cult featured in that film—but it seems like he only realized this while speaking. Despite these shortcomings, the movie is worth experiencing. It’s likely to provoke strong reactions, with some loving it and others hating it. While long stretches may feel uneventful or overly bizarre, there are moments when the story genuinely grabs your attention. The cast performs well, particularly Michael Smiley, Reece Shearsmith, and Richard Glover. I'm giving *A Field in England* a 6 out of 10, with the possibility of it rising to a 7 after another viewing—the fact that I want to see it again says something on its own.

Source on TMDB