(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)

I was a rural kid who first saw the 1984 supernatural horror film “Children of the Corn” thanks to our family’s giant (and admittedly gaudy) backyard satellite dish (kids, ask your parents about them). Ever since then, I’ve always had a soft for the film which was based on a 1977 Stephen King short story. It is unquestionably flawed in ways that stand out even more today. Yet I’ve always found myself entertained by the movie, drawn into its setting, and intrigued by some of the ideas that sit at its core.

Nine mostly straight-to-video movies later and we have yet another one. Completed in 2020 but just now getting its proper release, this new “Children of the Corn” doesn’t have much in common with the 1984 film. That story followed two travelers who seek help in a dead and abandoned Nebraska farm town only to discover its disturbing and deadly secret. This one actually shifts its focus to the small town itself and the bloody horrors that befell the people who lived there. It’s a cool idea and an interesting take on King’s story. Sadly, writer-director Kurt Wimmer can’t quite bring it all together as I had hoped.

The small rural town of Rylstone is on the ropes. It lives and breathes on its corn production. But bad deals with the big corn industries has left their fields ravaged by harmful herbicides which have led to a devastating blight. With businesses closing and people losing everything, the townsfolk are desperate. For 17-year-old Bo (Elena Kampouris), watching her hometown erode has been heartbreaking. But she’s optimistic and believes it can be fixed. She’s about to head off to college in Boston much to the chagrin of her kid brother Cecil (Jayden McGinlay), but she tries to encourage her father, Robert (Callan Mulvey) and the other adults not to give up on their little town.

But Rylstone isn’t only struggling financially. There’s references to its moral decline, mostly from the mouth of the town’s frustrated preacher, Pastor Penny (a really good Bruce Spence). And there’s still the looming cloud of a recent tragedy – when a teenage boy, fresh out of the cornfield, grabbed a knife and walked into the Rylstone Children’s Home, carving up several of the adult staff members. During the resulting standoff, the town’s redneck sheriff and a dimwitted farmer gassed the children’s home thinking it would knock the killer unconscious. Instead they killed every adult and child inside. Brilliant.

The creepy killer seemed to be acting at the behest of a creepy young girl named Eden (Kate Moyer) who the town’s creepy children follow with a creepy cult-like allegiance. Of course the reason for it all is out in the cornfields, and it eventually comes to light through the eyes of our protagonist, Bo. Much like the past “Corn” movies, this film’s mystery lies in those sprawling cornfields. Unfortunately there’s not much suspense to be found in this lukewarm update because the secret is so glaringly straightforward. Even more, it seems like there is so much information the movie leaves out which could have helped make this a more intriguing and detailed story.

So we end up with a new “Children of the Corn” movie that sets itself up nicely but that ends on a pretty flat note, highlighted by a mostly unintelligible final line that (I think) may be setting up a sequel. I still find the setting compelling and King’s original concept is chilling. But here the supernatural takes a backseat to something far less interesting. And despite taking an earnest swing, this is a remake that has a hard time justifying its existence. “Children of the Corn” releases in select theaters starting March 3rd before streaming on Shudder March 21st.

VERDICT – 2 STARS

Going into 2015’s “Creed”, I admit to being a little skeptical. After six Rocky installments I wasn’t convinced I needed a spin-off movie. As it turned out, writer-director Ryan Coogler had a pretty terrific story to tell, Michael B. Jordan showed himself to be genuine leading man material, and Sylvester Stallone’s presence in a supporting role not only linked “Creed” to his Rocky movies, but grounded the movie in a way I wasn’t expecting (him losing the Supporting Actor Oscar is still a travesty).

Coogler passed on the sequel due to scheduling reasons, yet “Creed II” didn’t miss a beat. In fact, in many ways it was even better than its predecessor, with Jordan taking a step up and Stallone giving yet another terrific supporting performance. And that brings us to “Creed III” which sees Jordan not only starring, but also making his directorial debut. And it’s a good one.

Much like the previous two films, “Creed III” once again gives us a story that focuses more on its characters and their relationships than actually boxing. In addition to Jordan returning to play Adonis Creed, Tessa Thompson is back playing Adonis’ wife Bianca, Phylicia Rashad as his mother Mary Anne, and Wood Harris as boxing trainer Duke Evers. There are several other familiar faces than fans of the Creed movies with enjoy seeing.

New to the series is the adorable scene-stealing Mila Davis-Kent playing Adonis and Bianca’s hearing-impaired daughter Amara. She’s a delight and not only does she bring heart to the story, but she also adds stakes. But most will be talking about Jonathan Majors as Damian “Dame” Anderson, Adonis’ childhood friend with a big chip on his shoulder and an even bigger axe to grind.

Majors is currently all the rave, and along with his name comes an unbridled fan-fueled ‘can do no wrong’ adoration that has even crossed into some film critic circles. But don’t let all the hyperbole-soaked praise on your Twitter feed sour you. Majors is a legitimate star on the rise, and if you need more proof outside of the eclectic array of performances he’s already delivered, look no further than “Creed III”. Majors does some fiercely intense, nomination worthy work which I hope is remembered next Oscar season. He’s that good here.

From appearing on billboards for Ralph Lauren to running his own gym and boxing promotion called Creed Athletics, a recently retired Adonis Creed is enjoying a life of luxury. He has it all – celebrity status, a lavish mansion in an upscale neighborhood, expensive suits, even more expensive cars. Thankfully his wife Bianca, now a successful record producer after hearing problems cut short her singing career, keeps Adonis grounded. And the two are raising a sweet and spunky young daughter together.

But Adonis’ world is shaken when his best friend from childhood, Damian suddenly reappears after serving 18 years in a penitentiary. Damian was a boxing prodigy and a former golden gloves championship with a huge career ahead of him. “Diamond Dame” was a rising star and Adonis followed him everywhere. But while out together one fateful night in 2002, an incident outside of a liquor store changes both of their lives forever. Adonis gets away; Damian is arrested and sent to prison.

Riddled with guilt, Adonis tries to help get his old friend back on his feet: inviting Damian into his home, introducing him to his family, and even setting him up in his gym. But as more details of their past comes to light, a steady tension boils up between them. It turns out that Damian is back to pick up where he left off, whether that means going through Adonis’ hot-headed protégé and new heavyweight champion, Felix Chavez (Jose Benavidez), or (inevitably) Adonis himself.

Screenwriters Keenan Coogler and Zach Baylin (working from a story they conceived with Ryan Coogler) continue the franchise’s long-running theme of facing and fighting your demons in more ways that just a boxing match. You might think that would get old. But the Creed movies (much like the Rocky films before it) tell stories rooted in the indomitable human spirit. Sure, they always end in a boxing ring with millions of people watching. But the undercurrent of humanity give the fights more weight. Never before has that been more true than in “Creed III”.

That humanity shines through in Jordan’s direction. His instincts transcends that of a first-timer, both in his wonderful command of the adult drama, and in his buildup and execution of the brutal showdown in a sold-out Dodger Stadium. Meanwhile Jordan the actor takes his character to some meaningful new places, and the scenes he shares with Majors are riveting. I do wish Rocky Balboa himself had gotten more than a single insignificant mention, and I’m always up for more screen time for Phylicia Rashad. But the film’s absorbing central conflict keeps us firmly in its grip. And by the time the Main Event comes around, we’re so invested that any complaint feels like nothing more than a quibble. “Creed III” is out now in theaters.

VERDICT – 4 STARS