Although it has its amusing moments, in eneral the plot does not convince.

This movie was so-so. It had it's moments, but wasn't the greatest.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Maybe you need to know how it is to come from a place that tries to drag you back into its dirt to like this movie, but I found it really well observed and beautifully built up till the last moment. Sam Worthington certainly is a positive surprise to me, I only saw him in quite unimaginatively audacious productions so far, it's great to discover his other side.

"Texas Killing Fields" is based upon true events: the murders of young women who are dumped in a Texan oil field known to the locals as the Texas Killing Fields, really a bayou. In an early scene, a trapped waif –a young teen-aged girl – stands alone in the darkness in the parking lot of a convenience store. In reality she has nowhere safe to go, and the feeling is one of trepidation. At movie's beginning, two women are discovered dead, or at least one is. A woman's car is found with her personal effects in the killing field. Her driver's license identifies her as blonde Kirsten lane. Later on her body will be found. The other – a dark-haired prostitute – is discovered in a vacant lot in the city. Both murders have been committed by two different sets of suspects unknown to each other. So the cases are different. But the viewer does not initially know this information. In fact, more than once the movie editing adds to confusion by cutting needlessly to a scene or character unrelated to the previous sequence without any clarification. The disjointed manner of shooting by director Ami Canaan Mann (Michael Mann's daughter) often makes this feature a frustrating, incoherent narrative. Bearded New York transplant and levelheaded Brian Heigh (Jeffrey Dean Morgan) and his local, hot-tempered and intimidating partner Mike Souder (Sam Worthington) discover the body of the aforementioned young prostitute. Right after Mike's tough ex-wife Pam Stall (Jessica Chastain, in another subplot) – also a cop – requests the help of Brian in the recent disappearance and murder of women within the confines of the killing fields. Brian reluctantly obliges, despite the objections of partner Mike due to their own case against two low-life flesh-peddlers who are systematically kidnapping and forcing teenage girls into a life of prostitution. Mann's film mires itself in a procedural plot involving Brian and Mike trailing these two suspects, pimp Levone (Jon Eyez) and his menacing, bare-armed, heavily tattooed cohort Rule (Jason Clarke), both of whom are heavily implicated in the prostitute's murder. All the while Brian, who just cannot stop helping others in need, keeps an eye out for Little Ann Sliger (Chloë Grace Moretz), a decent but mildly delinquent teen – the above-mentioned trapped waif – trying to survive life at a wretched home with a toxic, dysfunctional family. These members include low-life mom Lucie (Sheryl Lee), criminal brother Eugene Sliger (James Hébert), and her menacing boyfriends, especially chilling Rhino (Stephen Graham). Lucie has instructed daughter Ann to disappear when she has certain men hanging around the house. The denouement will be one of no-nonsense brutality, although flirting with implausibility. To reiterate, various narrative streams often occur all at once, so it is easy to become confused about what is exactly taking place on- screen. On appositive note, the atmosphere is sufficiently gritty with its haunting landscape: the feeling of dread permeates everywhere. The acting, especially by Chloë Grace Moretz, is fine, but Worthington's accent is often difficult to comprehend. You will probably need to utilize your TV's closed-caption option to understand his words. At movie's end, the survival of one of the detectives is surprising and unrealistic. An inexplicable loose end concerns the fate of one of the bad guys, who outlives the picture. You may have to watch this one more than once to capture full understanding.

A film about the hunt for a serial killer might well be implausible, but to be both implausible and boring is a tall order; "Texas Killing Fields" succeeds magnificently on both counts, even though there is a chase with a shoot out, a climax of sorts, and a couple of other worthy scenes.This is said to be based on a true story; it isn't, except in a very, very general sense. Is there one serial killer or two, or maybe more? We never really find out, although we know who is the main man.This is a modern film noir although with subdued colours rather than in black and white. Its implausibilities include a team of basically two detectives being used to track down a man who obviously has more than the blood of one victim on his hands. Yes, there are other officers and technicians involved, but major murder investigations have never been run like this, certainly not in the lifetime of anyone reading this review.

Texas KILLING FIELDS moves at a carefully measured pace and, like movies like MEMORIES OF MURDER and ZODIAC, it draws the viewer in slowly but surely. By eschewing the grandiose, over-the-top action typical of most big budget murder movies (or most any TV show), it rings truer than most- which, in this case, is apropos, as the movie is ostensibly based on the Real World Texas Killing Fields murders. (Going in, I thought that someone had finally solved the scores of murders in Texas and made a movie a la ZODIAC about the case(s), but not so.) TRUE DETECTIVE, the series made for cable, started off not unlike Texas KILLING FIELDS, with some interesting (but LOW KEY) characters in a more or less true-to-life type of police procedural, but they blew it when the fourth episode turned into an unnecessary assault on The Projects action episode. Texas KILLING FIELDS avoids that particular pitfall. Admirably.