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The Killing Fields

The Killing Fields

Drama · History · War · 1984

New York Times reporter Sydney Schanberg is on assignment covering the Cambodian Civil War, with the help of local interpreter Dith Pran and American photojournalist Al Rockoff. When the U.S. Army pulls out amid escalating violence, Schanberg makes exit arrangements for Pran and his family. Pran, however, tells Schanberg he intends to stay in Cambodia to help cover the unfolding story — a decision he may regret as the Khmer Rouge rebels move in.

Movie details

The Killing Fields

“Here, only the silent survive.”

1984 Drama · History · War 2h 22m

Critical arithmetic

One number, for now.

TMDB

7.5 / 10

Community rating

New York Times reporter Sydney Schanberg is on assignment covering the Cambodian Civil War, with the help of local interpreter Dith Pran and American photojournalist Al Rockoff. When the U.S. Army pulls out amid escalating violence, Schanberg makes exit arrangements for Pran and his family. Pran, however, tells Schanberg he intends to stay in Cambodia to help cover the unfolding story — a decision he may regret as the Khmer Rouge rebels move in.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Killing Fields?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Roland Joffé

Written by

Bruce Robinson

Sam Waterston

Sam Waterston

Sydney Schanberg

Haing S. Ngor

Haing S. Ngor

Dith Pran

John Malkovich

John Malkovich

Al Rockoff

Julian Sands

Julian Sands

Jon Swain

Craig T. Nelson

Craig T. Nelson

Military Attaché

Spalding Gray

Spalding Gray

U.S. Consul

Bill Paterson

Bill Paterson

Dr. MacEntire

Court is in session

Put The Killing Fields on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.