Stephen King

61 Days of Halloween- Top Evil Kids in the Children of the Corn Series

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Top Evil Kids in the Children of the Corn Series

Below you will find a ranking of the featured evil children in the Franchise to date. Apologies to Robbie Kiger and AnneMarie McEoy and the other actors portraying the good kids of Gatlin and the surrounding communities throughout the series but this is the bread and butter of it after all.

12. Adam Wylie in Children of the Corn V: Fields of Terror

Adam Wylie in Children of the Corn V: Fields of Terror (Dimension)

As I indicated in the review of Fields of Terror this ranking isn’t a reflection of Wylie’s abilities as a performer so much as they are a function of his being miscast for this role. Despite his conviction and acumen in delivery he is rarely believable and never intimidating.

11. Dusty Burwell in Children of the Corn: Genesis

Dusty Burwell in Children of the Corn: Genesis (Dimension)

OK, confession time: Burwell does kind of get a pass based on his age and the fact that the script demanded very little of him. He’s constrained by a small amount of activity he’s asked to do and no dialogue. Due to most of the faults being that of the film and not the actor I can bump him up slightly, however, his character was the least involved of all the evil children in this series thus far.

10. Daniel Newman in Stephen King’s Children of the Corn

Daniel Newman in Stephen King's Children of the Corn (SyFy)

Newman is given the unenviable task of reprising the role of Malachai which was made iconic by Courtney Gains in the original film. Granted the character in the story and this script is much less involved and demanding, however, nary does Newman really engender fear based on a look or a line. The tension of the film is purely situational.

9. Preston Bailey in Stephen King’s Children of the Corn

Having recently seen him in Judy Moody and the Not Bummer Summer I can say he has become a stronger actor. Which is not to say that he’s weak in this film. He does admirably with his dialogue and is always as imposing as he can be he may just have been a bit young for the part, however, he does have his moments.

8. Brandon Kleyla in Children of the Corn IV: The Gathering

Brandon Kleyla in Children of the Corn IV: The Gathering (Dimension)

Many of the actors in this part of the list are in similar boats: they were in roles that were larger in significance than size. Kleyla is one of the more under-involved having said that he doesn’t capitalize much on it and is somewhat forgettable aside from some good kills and nasty appearance.

7. Ryan Bollman in Children of the Corn II: The Final Sacrifice

Ryan Bollman in Children of the Corn II: The Final Sacrifice (Dimension Films)

At least Bollman is in a cast where the cabal is large so he has support. He is good for an occasional evil stare that is effective but not as strong with dialogue. If they were on even par he might be higher up.

6. Sean Smith in Children of the Corn: Revelation

Sean Smith in Children of the Corn: Revelation (Dimension)

Sean Smith sadly can’t claim top billing amongst the evil kids in his own film, however, a lot of that is due to the design of it where minion ghosts bear more of the brunt than the boy preacher does. In his limited time he is rather formidable both as a personage and as an actor. He has chilling glares from cold eyes and puts quite the assault on the protagonist.

5. Jeff Ballard & Taylor Hobbs in Children of the Corn: Revelation

Jeff Ballard and Taylor Hobbs in Children of the Corn: Revelation (Dimension)

Here’s a rare case where the effectiveness of the kids and the quality of the film don’t quite match up. The film in terms of premise and execution is sad. This pair also don’t talk much but overcome that because they fit the parts so well and are committed to their actions with demented glee.

4. Robert Gerdisch in Stephen King’s Children of the Corn

Robert Gerdisch in Stephen King's Children of the Corn (SyFy)

This is the standout of the King remake both in terms of writing and performance by a juvenile. As I’ve stated before a great teaser scene can be a good thin or a bad thing. Here it’s a great thing. Gerdisch’s preaching is a chilling tone-setter that is wonderfully delivered and one of the highlights of the film.

3. Daniel Cerny in Children of the Corn III: Urban Harvest

Daniel Cerny in Children of the Corn III: Urban Harvest (Dimension)

Here’s a prime example of how heavy involvement by the preacher kid in this film can be a boon to it. Cerny shoulders more of a load in this film than any other young actor in the series and has some of the better material and moments. For the most part all are used to his advantage and he also has the intangible that just is scary.

2. John Franklin in Children of the Corn

John Franklin in Children of the Corn (New World Pictures)

I think appropriate that I state that the top two could easily be reversed. The top two are, as one might expect, in the first film. Franklin’s casting, in the original, is inspired. He was playing a character younger than he was at the time and was easily convincing and also quite unnerving. No preacher had more verve and downright zealotry. His return in the original is perhaps the pinnacle of the film. It’s truly difficult to separate this team. Their strengths are enhanced by the fact that they share the same film.

1. Courtney Gains in Children of the Corn

Courney Gains in Children of the Corn (New World Pictures)

Why does Gains get top spot? First, there’s a question of his character. He is the wildcard enforcer and in a moment revealed as the more feared amongst the children. He makes simple lines emphatic and shocking. He has an intimidating glare and makes his onscreen time count, every second of it.

61 Days of Halloween- Children of the Corn IV: The Gathering

Posted on by bernardovillela

Naomi Watts and Mark Salling in Children of the Corn IV: The Gathering (Dimension)

Children of the Corn IV: The Gathering is an absolute dud. If it wasn’t for some of the performances this film might rank lower in the annals of the franchise than it does. It is seriously sluggish throughout and never gets anywhere fast.

The most notable thing about this film is that two of its more prominent players have gone on to bigger and better things and you can see why Naomi Watts and Mark Salling (Glee) are so much better than the parts they play and the film they’re in that they scarcely lift it up but merely make their portions of the film somewhat tolerable.

To get a sense of the issues that this film faces there is yet another noteworthy performance in this film and it is that of Karen Black. It’s actually a shame to see someone like Karen Black in a film like this and it made me think of the Family Guy joke about her just a little bit different, not as an obscure reference but in an obscure film.

This also one of the films in the series wherein the child prophet (Josiah played by Brandon Klayla) is missing through a large majority of the film. Rather than write him scarier he’s disfigured with bad prostheses and doesn’t invoke as much fear as he should, however, he is behind the eight ball due to his screen time.

This film also suffers from the fact that it’s the one that does the most to try and absolve the children of being evil. The corn and its disease plays a major role in this film and though some of the hospital scenes are the better ones in the film it’s a perpetuation of an unfortunate development in the series that thankfully dies after this film.

While this film does only somewhat better in juggling a blossoming romance and a horror story it misses the boat. The problem is romances are exciting and new and you “have” to watch the courtship and have it detract from the reason you’re watching the film, to be scared. Yes, it could help you connect to these characters and raise the stakes but it also introduces a lot of artifice and room for easy exposition, life stories as exchanges and so forth. Whereas in the original, the remake and the latest installment one of the stronger elements in all of them is that the couples have an existing relationship. They have a history they talk, debate, bicker and fight and you learn about them in a more subtle way and have a better chance of rooting for them because they are together and want to get out go on a honeymoon, have kids and what have you. Marriages, and/or committed relationships have more permutations, interest and conflicts than star-crossed love stories.

The other huge issue with this film is indicated by the subtitle, The Gathering. There’s not much more to it than that. It’s likely if not the most, one of the most anticlimactic films in the series. In the other ones, even those that aren’t good, at least deliver a compelling climax, in conception anyway.

I frequently write about the last image, shot and/or scene of a film being very important. After a film such as this one you want that scene to something quick and simple and hopefully not open, I’ll grant it that this one wasn’t an open end but still kind of a gimmicky one but unfortunately fitting considering what preceded it.

3/10

61 Days of Halloween- Children of the Corn (1984)

Posted on by bernardovillela

Most holidays worth their while encompass entire seasons, such as Christmas, for example. However, as you may have noticed there is a corporate push every year for us to think about the next holiday even sooner. While this has many negative side effects I figure I may as well embrace it.

Since Labor Day is really only good for college football and movie marathons cinematically it is as significant as Arbor Day, which means the next big day on the calendar is Halloween and we can start looking toward it starting now.

Daily I will be viewing films in the horror genre between now and then and sharing the wealth. Many, as is usually the case, will not be worth it so for every disappointment so I will try and suggest something worth while as well.

Children of the Corn (1984)

 

In my opinion this is a great film and here’s why: Even before we see anything we feel that the score will be of great importance in this film. Aside from a slightly electronic new wave ‘80s score provided by Jonathan Elias the film’s score also features a children’s choir appropriate and both chilling in tandem with the events that occur onscreen and with the theme of the film.

Like in many horror films we begin in flashback to a prior event that led to current unusual circumstances with voice over narration of Job (Robbie Kiger) who is the older brother of Sarah (AnneMarie McAoy). Throughout the film these two are involved in simple activities which are banned under the rules but because of Sarah’s gift they generally are allowed to do what they wish.

What separates this film from most in the ‘80s is that it’s not necessarily a gore-fest. We get dead bodies and the after-affect of the massacres, but compulsion The of needing to see the blade or bullet, whatever it may be, pierce the skin is absolutely eliminated and the result is even more frightening.

Joseph (Jonas Marlowe), a child displeased with the customs Isaac has imposed upon the town of Gatlin, tries to escape but he is caught. All we see when he dies is a few drops of blood falling on a suitcase he was going to take with him on the road.

Film is a medium that is at times binding to the imagination. When any director, Fritz Kiersch in this instance, allows the audience to imagine what may have been done to these people it deserves notice. Another example of this being the massacre three years prior that kicks off the film we hear a mother’s death over the phone and see a father’s blood splatter over a son’s face. One of the strengths of this film great is the suspense that is created when we see these two trying to get around this seemingly abandoned town.

One of the most effective techniques Kiersch uses to heighten tension while the film was progressing is the use of shots from an anonymous yet subjective POV after we know the children were already out to get them. There’s a shot through broken glass that’s been stained brown, a shot of someone peering over a garbage can, low-angle shots of the corn when Joseph’s being chased. He also employs time to his advantage because the young couple does not enter the town of Gatlin where all the horrors will occur until the 39th minute of the film and even there things creep along slowly.

There is a great use of wide-angle shots throughout to demonstrate the emptiness of the town. The audio and visual effects of this film are absolutely breathtaking, except maybe for one notable one at the very end (the infamous appearance of He Who Walks Behind the Rows). There’s a great use of what appears to be time-lapse footage coupled with the audio effect of gushing wind to signify the wrath of God. 

Near the conclusion of the film we hear the greatest demonic voices in the history of film. It’s deep, raspy and frightening without going overboard. And just when we think the most psychotic of all the town’s children is going to walk away from this, Isaac speaks to him in that voice and delivers a line that helps make that voice: “He wants you too, Malachai. He wants you too.” The escalating horror of the climax continues when there is a gorgeous fiery apparition in the sky and later in an obviously processed-shot there’s flame beneath it which we assume is supernatural but to say more would be giving it away.

The end of Children of the Corn is wonderful the very last scene gives you a fright which is conceivable and doesn’t seem fake at all due to some crafty editing. It takes away that artificial happy ending feeling. The happy ending in any horror movie is false because we know the characters usually have been through a harrowing experience and it’ll be hard for them to walk away smiling. Watch for the sound of the crickets and the return of a choir, this ending will run a chill through you all over again!

This film is also steeped in religious commentary. First, there is Horton and Hamilton in the car listening to a televangelist and mocking him and showing great chemistry and comedic interplay. They find a cross made of corn and Horton says in an offhand and stunned way “Jesus Christ” to which Hamilton responds “Not in my book.”

We witness them holding a Mass of those who worship He Who Walks Behind the Rows and see the irony of their words screaming at us. All the names of the children in this town Isaac, Malachai (Though spelled differently in the story), Job and Sarah are biblical figures. These are the children of God-fearing people who have twisted the scripture to suit the needs of a few sick souls who are power hungry those who stand against the clan generally have no chance. Vicky is kidnapped and hung from a cross made of corn, biblical passages are written in blood on church walls the same church where a desecrated portrait of Jesus hangs.

There is but one point where the film inches towards the didactic and even so it’s but a moment and almost necessary because it shows how insane Malachai’s followers have gone. One other thing that makes this film is unique is that we get inside the cult and see the way Isaac and Malachai differ. In what makes horror films fun we get to side with one of them over the other because if we were involved with them in any way he’s the one we’d prefer. There is much infighting with these two and it adds to the tension and adds a wallop to the climax.

Two for Tuesday #2

Posted on by bernardovillela

So for this Two for Tuesday I decided to switch things up because after all variety is the spice of life, or so they say. Rather than continuing the Oscar theme, and sparing my DVR, I decided to finally give a few DVDs I picked up over the summer a chance.

Both of them are horror films. One is called Boogeyman and the other is Shutter. As further proof that there’s not that much at all in a name the former is much better than the latter.

Boogeyman

Barry Watson in Boogeyman (Columbia Pictures)

On the surface you may think there’s nothing much to Boogeyman. It’s a tale we’ve all more or less heard, mostly through oral tradition. Some of us horror aficionados have even read Stephen King’s rather brilliant rendition of the legend.

This film does have some surprises in store, however. Not the least of which is the performance of Barry Watson. Now I was not all that familiar with Watson’s work other than his time on 7th Heaven. I came away from this film quite impressed with him indeed. It’s a quiet role that dominates the film and he handles it easily. He is convincingly scared without ever going over the top, much of his dialogue is in whispers but it never gets annoying and he’s the kind of everyman that can really transport you into a horror film.

It can be easy for a horror film to have a really effective teasing scene but it’s far more rare for that scene to have such a direct correlation to the rest of the film but it gets more surprising. The villain, the literal Boogeyman in this case, is hardly ever seen for 80-90% of the film playing into the doubt of his existence and actually amping up how scary this film can be. I mean literally absent not you don’t see its face I mean most of the time you see nothing which is an amazing feat.

Time and space are played with quite effectively, there is also what in another film would be a major twist moved up and not made the center of attention which is refreshing. While not original there is also a play on missing children in this film, which is always an effective angle for a horror film.

The cinematography both in terms of lighting and framing and how it shoots into the edit is brilliant. Kudos to Bobby Bukowski, a name I think I’d like to get better acquainted with.

With all this goodness mounting still there was a niggling doubt building. The question that kept bugging me was: “Why have I never heard of this movie?” I answered that question and much to my chagrin had my speculation confirmed.

Now some, Stephen King, included will cite the revelation of He Who Walks Behind the Rows as the downfall of Children of the Corn, while I can’t argue that the effects are great I still like them in a cheesy 80s kind of way and love the film. Here not so much. After so much that went right the effects totally drop the ball and actually made me giggle a few times which is tragic because there were genuine scares to be had before.

To think with just a halfway decent practical makeup job on the Boogeyman it could’ve been something special.

Shutter

Joshua Jackson and Megumi Okina in Shutter (20th Century Fox)

For everything that Boogeyman did right and then blew in the ending, Shutter pretty much did all those things wrong right off the bat and then compounded with a stupid ending. The giggle factor for me starts right at the beginning shortly after the inciting incident.

While Boogeyman is a quiet and mostly very intelligent film with commendable performances by the cast Shutter is louder, dumber and poorly acted through a lot of it.

Now I can say I’ve seen enough Asian horror to cast aspersions on an entire continent’s approach to a genre but I sure as hell have had enough of our pale imitations both via remake and rip-off. There always ends up being more unintentional comedy than an actual fear factor.

There is a delicate balance in horror films: too much build up or too much action, especially if its repetitive, is likely to bore an audience. This film falls into the latter category. For the longest time we see “spirit photos,” which is an oft-used trick in supernatural films then there is the girl herself and we just see her incessantly and it takes next to forever for her to actually do anything.

As more details unravel about her identity and motivation things just get progressively dumber and uninteresting instead of getting smarter and more engrossing, again the antithesis of the previous film.

I won’t spoil the ending but it’s the kind that if you liked the film you love it because of how it concludes. If you hated it before you’ll loathe it after its through.