The Stalking Fields (2022)

Marcus Woodman (Sean Crampton) is a veteran, and he has been recruited, but for what he’s not quite entirely sure. When he finds himself part of a wild program designed to treat military personnel with PTSD, his role in this program isn’t exactly what he’d expected. As he maneuvers the program known as The Stalking Fields, morality and mortality come into play for everyone involved.

When attacking a film about PTSD, it’s important that filmmakers approach it with vigor, but with compassion as well. Extreme cases of PTSD have caused serious struggle around the world, and have gone as far as to result in death. This is a touchy subject that The Stalking Fields focuses on, and to some degree I don’t believe that it’s quite as sensitive as it needs to be.

My grandfather was (is) a military man. While he’s a wonderful husband, father, grandfather, and friend, it’s clear that pieces of his military experiences have never left him. He’s a little rough around the edges, and he has certain expectations regarding his family and the world as a whole–and that juxtaposition exists in every facet of his being. While there are pieces of some of these characters that are a bit damning, a bit frustrating–I think that the bigger picture is captured with grace. The Stalking Field explores the reality that, just like everyone else, those who have served their country have lives outside of their profession; they are individuals that struggle just the same as everyone else. This is the most pivotal piece of the entire film–and while it takes some time to develop, it seems that this may have been the primary focus of Writers Crampton and Jordan Wiseley.

There are momentary shifts from the primary story to a series of wildlife. This creates a juxtaposition in the tone of the film. The majority of The Stalking Fields focuses on struggle, death, and the like, but those sudden shifts, the mere seconds that viewers are able to see the beauty that exists all around all that is occurring in front of them, reminds them of the light that exists in the darkest depths of the world. Viewers are regularly reminded of the disgusting reality that exists in our world, but the beautiful bluejays that creep onto screen keep things throughout the film even keeled, accessible, and honest.

Taylor Kalupa (Sara Wiler) plays one of the most unique roles in the entire film. More specifically, her eyes play an incredibly unique role. Her bright blue eyes represent honesty, fragility, and a series of other things throughout The Stalking Fields. Whether or not an actor is attractive rarely plays a role in how I perceive a film, but the casting of Kalupa, a stunning actor, is so important to the narrative. Much like the bluejays, Kalupa’s Sara presents viewers with a series of metaphors, a series of subtle meanings–and her appearance does such a wonderful job of doing so.

Love stories often manage to destroy war-related films. They add an unnecessary element that can often cause films of this nature to fail–but not with The Stalking Fields. The romance that exists within this film is essential to the plot–and it’s a beautiful thing when writers and directors are able to incorporate aspects like this into a film in an organic and appealing fashion.

If we look back to one of my initial comments, I think it becomes clear that, as The Stalking Fields progresses, Crampton and Wiseley know exactly what they are doing. They seem to have a genuine understanding of how viewers want to perceive their heroes, and they know just how to ruffle some feathers in the early going. Their ability to write a film that both skews the way in which viewers look at former military and reminds us of their sacrifice is impeccable–and the juxtaposition that is created throughout nearly every facet of the film is impressive. This action thriller dives deep into the emotional state of nearly twenty-percent of military members, and it captures these realities in a way that I’m not sure many viewers had expected. The finished product is wonderfully immersive, easily accessible–and it leaves viewers wanting more, anticipating a sequel. That sequel is not only essential to the story, but it’s welcome by everyone who watches.

Directed by Ric Maddox.

Written by Sean Crampton & Jordan Wiseley.

Starring Sean Crampton, Taylor Kalupa, Adam J. Harrington, Rachael Markarian, Richard O. Ryan, etc.

⭐⭐⭐⭐⭐⭐⭐½/10