‘Children of the Corn’ Review: This Agricultural Horror Reboot Belongs in the Compost Binīut in adapting the Stephen King novel of the same name (King shares screenwriting credit here with Adam Alleca), director Tod Williams (“The Door in the Floor” and, perhaps more tellingly, “Paranormal Activity 2”) bypasses an innovative premise with a technophobic hook for something far more conventional than its opening salvo might indicate. Because Clay was on a pay phone, he’s able to watch in horror as employees and passengers alike descend into a series of increasingly horrific, animalistic displays.ĭespite the indiscriminate nature of these newly-birthed beasts (some are violent, some seem intent on self-harm, some seem content to convulse), the sight of innocent bystanders getting launched over escalator handrails and a member of the airport security detail ripping out the intestines of its drug-sniffing German Shepherd sure sets the stage for a gruesome, unrelenting spin on the zombie film. The inciting incident isn’t an act of domestic terrorism, but a mysterious electronic pulse that turns all of the terminal’s cell phone users into unrepentant rage monsters. It wastes no time bringing about the complete collapse of Western Civilization. Over the elapsed time of a single phone call, graphic novelist Clay Riddell ( John Cusack) watches the normal bustle of his surroundings at a Boston airport erupt in a full-scale brawl. Give “ Cell” points for narrative expediency.
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