A fading midwestern town in which Frendo the clown, a symbol of bygone success, reemerges as a terrifying scourge.
Chuck says:
While it fills in every box on the “Slasher Movie Trope Checklist,” Eli Craig’s “Clown in a Cornfield” manages to inject enough smarts, humor and style into the formula to make it all seem, if not exactly fresh, certainly a cut above typical genre fare. Sporting a game cast, effective location shooting and timely social commentary, the film’s simplistic title belies the intelligence and skill that’s gone into its making. Though taking place in modern day, the movie sports an old-school vibe that will likely remind you of the 80’s slasher flicks that have become genre touchstones.
Kettle Springs, a tiny Midwest town, is an insular community that does not take kindly to outsiders. However, the residents there seem ready to make an exception for Dr. Maybrook (Aaron Abrams) and his daughter, Quinn (Katie Douglas). The tiny burg is in need of a new sawbones, while the Maybrooks are looking for a soft place to land after suffering a tragedy, so it seems to be a perfect fit.
Quinn gets a crash course in the town’s history from Cole (Carson MacCormac) and his posse, which includes Janet (Cassandra Potenza), Ronnie (Verity Marks), Tucker (Ayo Solanke) and Matt (Alexandre Martin Deakin). These high schoolers embrace their reputation as troublemakers, exploiting the town’s notorious history with a series of videos starring a serial killer of legend from the area, known as Frendo. Based on the mascot for the local corn syrup factory that’s burned down, their movies feature staged murders committed by the Clown-faced slayer. The teens love them, the adults hate them and once reports of real murders being committed by Frendo are reported, confusion and chaos reigns.
Craig takes a self-aware approach that helps the familiar go down a bit easier, something the cast of young actors projects as well. The script by Carter Blanchard, based on the novel by Adam Cesare, wisely portrays each of the victims as likeable, Quinn coming off as easiest to relate to. Douglas is a standout, giving a fierce, at times, funny performance as the requisite Final Girl, while her peers impress as well when put in the spotlight.
It’s to Craig’s credit that he keeps the film humming along as he does. Running a brisk 90 minutes, sans credits, the director wastes no time, each scene executed briskly, before moving to the next with equal urgency. That there is little fat to “Clown,” is a huge plus, as is the way it depicts its violence. There’s an initial restraint that gradually gives way to scenes of a more graphic nature, which is part-and-parcel of these movies. Yet, none of the extreme moments are lingered on and there is never a sense of exploitation at play. Still, horror fans’ appetites will be sated, as Craig finds the fine line between what’s necessary as opposed to what’s gratuitous.
The social commentary in “Clowns,” while obvious, is still effective. The elders’ notion of sticking to tradition, their hatred of outsiders and resistance to new ways of thinking all smack of the current divisiveness between conservatives and liberals. Yes, it’s low-hanging fruit and Craig never lets it overwhelm the story, yet its presence is important in the effort to foster a continuing dialogue concerning these issues.
And as gruesome as it may sound, there’s a sense of fun to “Clowns” that’s most welcome. Craig knows that a good horror film is a vicarious experience meant to provide safe thrills, not something to make us turn away in disgust. His peers would do well to follow his lead.
3 Stars
