The seventh and final (thank you) entry in the seemingly never-ending "Children of the Corn" franchise finds those pesky little rascals stalking (stalking, get it?) a woman whose grandmother has disappeared under mysterious circumstances. It turns out that the decrepit building where-in granny lives was once the grounds of the original children of the corn and through the course of the film, the residents of said building find themselves at the mercy of the sadistic children and their thousand yard stare.
Director Guy Magar (whose career was apparently killed with the making of this movie) gives the film a slick look and feel, but the end result can't help but feel like the lame direct-to-video fare it was always meant to be. On the upside, this installment is less insulting to the intelligence than previous entries in the franchise, and seeing as how the original "Children of the Corn" wasn't that fantastic from the get-go, it's fair to say that the bar was never that high to begin with.
80's cult icon Michael Ironside has a bit as a priest in the film, but his moments are so sparse that his presence is barely felt, and incidentally, his character serves no real narrative purpose. Even still, it's nice to see the guy getting work. Claudette Mink gives us someone to root for as the main character, and actually turns in a pretty decent performance. The effects are painfully bad, however, and the deaths in particular are bloodless and -- save for the stripper in the bath-tub scene -- uninteresting. Those who have already wandered through the previous rows of corn (read: prior sequels) could do much, worse though. Even though there are no revelations in this corny sequel, it still manages to kill an hour and a half rather painlessly.
Director Guy Magar (whose career was apparently killed with the making of this movie) gives the film a slick look and feel, but the end result can't help but feel like the lame direct-to-video fare it was always meant to be. On the upside, this installment is less insulting to the intelligence than previous entries in the franchise, and seeing as how the original "Children of the Corn" wasn't that fantastic from the get-go, it's fair to say that the bar was never that high to begin with.
80's cult icon Michael Ironside has a bit as a priest in the film, but his moments are so sparse that his presence is barely felt, and incidentally, his character serves no real narrative purpose. Even still, it's nice to see the guy getting work. Claudette Mink gives us someone to root for as the main character, and actually turns in a pretty decent performance. The effects are painfully bad, however, and the deaths in particular are bloodless and -- save for the stripper in the bath-tub scene -- uninteresting. Those who have already wandered through the previous rows of corn (read: prior sequels) could do much, worse though. Even though there are no revelations in this corny sequel, it still manages to kill an hour and a half rather painlessly.