Good luck even finding a kernel of positivity in the new, awful Children of the Corn. DoNatoBomb's review:
is a rotten husk of a Stephen King adaptation. It’s hardly a remake of Fritz Kiersch’s 1984 supernatural slasher, as Wimmer’s screenplay drops the former’s theological flavors for an ecological commentary that evaporates by Act III. The core idea of pipsqueak children eradicating adult populations in a rural Nebraska town holds true, but the execution barely meets the standards of the ninth or tenthsequels.
Rylstone used to be home to Nebraska’s “happiest” corn until supposed miracle chemicals ruin the town’s prime export. Robert Williams wants Rylstone to embrace government subsidies to once again become economically prosperous—the children, whose futures are impacted by reckless and greedy adults, disagree. Orphaned Eden Edwards preaches the words of a deity living in the corn, turning against the town’s dismissive adults with violent mob justice.
Wimmer’s problems start with fundamental on-screen transitions, as characters magically transport locations without context clues.plays too fast and loose with continuity, focusing too extensively on the idea that wee kiddies can easily overpower burly farmers or furious parents. It becomes clear that whatever’s not shown is because the script doesn’t have answers, and what is demonstrated tries to distract with gory details.
Save for choice landscape frames of Andrew Rowlands’ cinematography, where cornfields sway in hazy sunlight,ain’t pleasant to behold. Wimmer often opts for computerized effects designed by Digital Domain, and it’s almost exclusively the wrong choice—whether that means gore shots during action scenes, the cornfield creature interpretation of “He Who Walks Behind the Rows,” or other letdown moments.
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