After an eight-year hiatus, cult director Eli Craig returns to the horror-comedy genre with his latest film, “Clown in a Cornfield,” from RLJE Films. Craig and Carter Blanchard pen the film’s screenplay based on the same-titled 2020 novel by Adam Cesare.
“Clown in a Cornfield” is a wickedly entertaining bloodbath that cheekily acknowledges its B-movie origins while wielding its butcher’s knife. I haven’t read Adam Cesare’s YA slasher novel, but I enjoy low-budget movies that take us into a quaint town for traditional slasher thrills.
After enduring a personal tragedy, Quinn (played by Katie Douglas) and her father, Dr. Maybrook (portrayed by Aaron Abrams), relocate from their large urban home to the small community of Kettle Springs. Quinn immediately bonds with the teens in towns, including Cole (Carson), the son of the mayor Arthur Hill(Kevin Durand), but is given a warning by Sheriff Dunne (Will Sasso) to keep her nose clean.
The quaint small-town setting proves anything but peaceful in this narrative. The beloved Baypen Corn Syrup Factory burned to the ground, resulting in generational warfare, splitting the town between boomers and zoomers with contrasting views of progress versus nostalgia. Out of the corn, quite literally, comes Frendo: The town’s mascot, which is transformed into a deadly weapon, determines that making Kettle Springs great again requires widespread destruction.
“Clown in a Cornfield” doesn’t pretend to be high art, which makes it a delightful experience for fans of genre films. While the acting may not be stellar, and some well-known actors like Sasso and Durand appear to be simply collecting a paycheck, the film still has its charms.
Rather than relying heavily on jump scares, the movie uses them sparingly and instead focuses on brilliantly graphic kills and a delightfully campy atmosphere. It blends elements from “My Bloody Valentine” and “The Funhouse” while also incorporating a touch of “Pumpkinhead”-style fury, all set against the backdrop of chaotic cornfields.
“Clown in a Cornfield” delivers creative and gruesomely entertaining deaths that capture the essence of ’80s slasher films through their ironic undertones. Pitchfork impalement worthy of Jason Voorhees appears alongside Frendo’s slow-motion appearance through stalks, which replicates classic VHS slasher aesthetics. The movie approaches its familiar elements, such as the masked killer and teenage victims, while maintaining a playful attitude but avoiding becoming overly self-aware. It’s stylish without being smug.
The movie struggles with self-restraint during key moments. Director Eli Craig exercises restraint throughout the film, which might disappoint horror enthusiasts who desire more unpredictable elements and surreal images. The absence of jump scares was intentionally chosen to allow the atmosphere to develop naturally, while the growing paranoia and unfolding chaos carry the narrative tension.
“Clown in a Cornfield” doesn’t reinvent the genre—it harvests it. And sometimes, that’s more than enough. It’s a popcorn massacre, tailor-made for midnight crowds and retro horror fiends. There is a hint of a sequel in the final moments, so hopefully, that comes to fruition.
Final Grade: B
“Clown in a Cornfield” opens in theatres tomorrow.
A rock music icon has teamed up with Apple Original Films to produce the compelling documentary “Bono: Songs of Surrender.
After being fired in disgrace and still dealing with a messy divorce from his wife Mel (Amanda Peet), who cheated on him with his former best friend Nick Brandes (Mark Tallman), hedge fund manager Andrew Cooper (Hamm) resorts to stealing from his neighbors’ homes in the affluent Westmont Village, only to discover that the secrets hidden behind the wealthy facades might be more dangerous.
Seth Rogen continues his successful relationship with Apple TV in his latest comedic series, “The Studio.” Rogen and his longtime collaborator, Evan Goldberg, direct all ten episodes and write three. Peter Huyck, Alex Gregory, and Frida Perez write the remaining episodes.