The uniform extent of rural Kansas transforms "in the Tall Grass" of Stephen King and his son Joe Hill into a region which extends to the horizon in every direction. Like sentient wines in Scott Smith's novel "The ruins," the field itself has a malignant presence, but the mere thought of being swept up in a sea of greenery, of sticky heat and burning flowers and six feet long grass cuts, is suffocating enough for a shorter startling effect. Before giving up to the abstraction, King and Hill retain the idea for Part 1. The rest of this is a fiery combination of mystical and supernatural nonsense, which sounds like some type of pit, a metaphysical zone characterised by arbitrary rules and characters continuously yelling their names. Cal (Avery Whitted) and Becky (Laysla De Oliveira), both of them pregnant, have little time parking in the outskirts of a field in the Kansas, where they respond to the cries of a boy who is lost to the grass. He seems nearby, but the further in the green, the further from him or each other, the further the siblings go. With the situation increasingly bleak, other figures, including Patrick Wilson's dad, who attempts to find a clear path through eating the landscape he can, emerge from the cut.