Children of the Corn II: The Final Sacrifice

After the horrific events in Gatlin, where a group of children have devoted themselves to a bloodthirsty cult and killed every adult in the process, the misguided children are taken in by the neighboring community of Hemmingford. Coincidentally, journalist John Garrett is driving through town with his 17-year-old son Danny and senses a story. He is assisted by local Red Bear, who provides him with possible clues about the origins of the cult. Meanwhile, the Gatlin kids gather again at night in the cornfield with the manipulative Micah as their new leader. Again they conspire to kill the adults in order to serve an evil demon.

The successful Stephen King film adaptation Children of the Corn was a huge success at the box office and has since spawned a remarkable eight sequels. The first sequel, Children of the Corn II - The Final Sacrifice, drifts into B-movie territory and instead of horror and suspense, we get laughable dialogue, terrible overacting and a flat plot. You don't even know what to focus on. For instance, on the crotchety Mrs. Burke, who warns of the danger early on, but as a seasoned housewife doesn't manage to clean some mold off the wall before moving her entire house. The Free Spirit TV series co-star Paul Scherrer tries to give the sunny boy, while flagship Indian Red Bear gives all sorts of wisdom, which contains little substance. The laughing stock is, of course, Ryan Bollman as Micah, who is always trying to look evil. He is also the only one of the Gatlin kids who wears black clothes instead of a farmer's outfit. For whatever reason. Completely haphazard is the sex scene between John and bed&breakfast owner Angela, who seems to need it so badly that she lets a third-rate hack into her bed. Even though the series went to the wall early on, the shenanigans are at least consistently entertaining if you're aware of what you're getting into.

Workprint with extended scenes

On the UK Blu-ray by Arrow Video, in addition to the International Version and the US Version, there is a workprint version in the bonus material that differs from the Theatrical Version in a few ways. The workprint is based on the international version of the film, meaning the CGI scene of Micah's transformation is missing. In general, the Workprint uses different music than the Theatrical Version, sometimes including well-known pieces like the Twin Peaks music. Probably the soundtrack was not finished at the time the workprint version was created. Radical sermons can be heard from the radio in the Theatrical Version. In the workprint, you hear music instead. Furthermore, the order of the scenes was changed in some places.

In the workprint, we learn that Lacey was still in Gatlin when the murders were committed by the children. This causes a relationship crisis between her and Danny. In another new scene, Mary calls Angela and tells her that she believes the children are responsible for Mrs. West's death and wants to address this at the town meeting. Otherwise, there is a new scene in which Red Bear and John are in the car and it dawns on both of them that the poisoned corn could be responsible for everything. The sex scene between John and Angela is missing from the workprint as is Micah's monster mutation. The other changes are of little consequence. The film has been reworked and rounded out in many places.

Theatrical Version:

Workprint:

Runtimes:

Theatrical Version: 92:57 min.
Workprint: 95:29 min.

[00:00:00][00:00:00]

The workprint is missing the opening credits, which can be seen in the Theatrical Version.

The first shot in which the basement door opens starts earlier in the workprint.

Theatrical Version: 2:09 min.
WP: 5 sec.


[00:02:53][00:00:49]

The workprint is missing a shot of the corpse dangling from the ceiling.

Theatrical Version: 3 secs.


[00:03:12][00:01:05]

In the workprint, the camera moves through the basement room with the bodies. The sheriff covers his mouth and nose with a cloth.

WP: 22 sec.


[00:03:23][00:01:38]

In the Theatrical Version, at the end of the scene in which the two men are examining the basement, you see a camera pan to a corpse with a corncob stuck in its throat. In short cuts, the camera zooms in on the corpse's face.

The workprint cuts to the sheriff illuminating the basement room. As they do so, the camera pans to the corpse with the corn on the cob in its neck. Alternative cuts zoom in on their faces.

Theatrical Version: 6 sec.
WP: 22 sec.


[00:04:02][00:02:33]

Theatrical Version cuts to Micah as Simpson says "you should all pay for this."

In the workprint, Simpson continues to be seen.

Theatrical Version: 3 sec.
WP: 3 sec.


[00:04:08][00:02:40]

Theatrical Version continues to show Simpson as the reporter asks him what it looked like down there.

In the workprint, it cuts to Micah instead.

Theatrical Version: 1 sec.
WP: 4 sec.


[00:04:21][00:02:56]

The reporter and the sheriff are seen earlier in the workprint. The reporter says that the sheriff was there when the bodies were found and wants to know more about the kids responsible.

WP: 7 secs.


[00:04:32][00:03:14]

Theatrical Version shows a scene in which a little girl is asked by a reporter if she saw what happened to her parents. The girl replies only "I saw the corn." The reporter stops the shot and just asks what the fuck is going on.

The workprint shows another reporter reporting that the situation is still largely unclear and that 25 bodies have been found so far.

Another scene follows in which a reporter asks a woman if she knows who dismembered her sister. He catches a slap in the face for this.

Theatrical Version: 14 sec.
WP: 42 sec.


[00:04:46][00:03:56]

The scene with John and Danny in the car comes in the workprint at [00:04:48], i.e., after the kids get on the bus.


[00:04:46][00:04:48]

John and Danny's car can be seen earlier in the workprint.

WP: 5 secs.


[00:04:53][00:05:00]

John and Danny's car can be seen longer in the workprint.

WP: 1 sec.


[00:05:58][00:06:06]

Theatrical Version shows a cut to Danny and John.

Theatrical Version: 2 secs.


[00:06:00][00:06:06]

The scenes of the kids getting on the bus follow in the workprint at [00:03:56]


[00:06:31][00:04:27]

In the Theatrical Version, Mordecai gets on the bus and sits in an empty seat.

The workprint uses the same shot for this in which he already got on the bus. Then a cut to Mordechai sitting down. This is followed by two more shots of the children on the bus.

Theatrical Version: 9 secs.
WP: 21 sec.


[00:06:40][00:04:48]

Further dialogue between Danny and John about the wedding follows in the workprint at [00:06:06]


[00:06:40][00:06:06]

In the Theatrical Version, Danny says he's only here because his mother didn't want him at the wedding.

The workprint continues to use the previous shot for this. The next shot starts earlier.

Theatrical Version: 5 sec.
WP: 4 sec.


[00:06:53][00:06:18]

After Danny's "shithead," the Theatrical Version switches to the next shot as John says "His name's Sherman."

In the workprint, the same shot continues as John says "His name's Sherman."

Theatrical Version: 2 secs.
WP: 3 secs.


[00:07:00][00:06:27]

Theatrical Version cuts to the next shot as Danny looks to John.

In the workprint, you see the two of them longer instead.

Theatrical Version: 1 sec.
WP: 1 sec.

[00:08:27][00:07:54]

In another shot, Mrs. Burke gets on her bicycle in the workprint. She mumbles that she is leaving.

WP: 4 secs.


[00:09:17][00:08:48]

Before John points the finger at McKenzie, he already says "You're an asshole." in the Workprint. He says it twice in the Workprint in total, and only once in the Theatrical Version.

WP: 1 sec.


[00:09:23][00:08:56]

Danny and John can be seen in the car for a longer time. John starts the car.

WP: 3 secs.


[00:09:31][00:09:07]

The scene where McKenzie and Bobby drive through the cornfield comes in the workprint at [00:10:39]


[00:09:31][00:10:39]

Theatrical Version shows a signpost to Gatlin.

Theatrical Version: 2 secs.


[00:10:05][00:11:10]

The scene where Bobby and John meet Angela comes in the workprint at [00:09:07]


[00:10:05][00:09:07]

The workprint fades to Bobby and John's car.

WP: 2 secs.


[00:11:34][00:10:39]

The scene where McKenzie and Bobby drive through the cornfield comes in the workprint at [00:11:10]


[00:11:34][00:11:10]

The Theatrical Version shows a shot of McKenzie and Bobby in the car. In the workprint, the scene of them driving through the cornfield is continuous, so the shot is not necessary.

Theatrical Version: 5 secs.


[00:12:19][00:11:49]

The workprint is missing an FX scene of the ominous cloud in the sky.

Instead, the workprint shows Bobby earlier.

Theatrical Version: 2 sec.
WP: 1 sec.


[00:12:28][00:11:56]

The POV shot of the van was distorted in the Theatrical Version.

No time difference.


[00:12:54][00:12:22]

The shot of the van was distorted in the Theatrical Version. The workprint shows an alternate shot of it.

No time difference.


[00:13:30][00:12:58]

The flashes of light are missing from the workprint. This refers to the whole scene.

No time difference.


[00:13:48][00:13:17]

Bobby is seen earlier in the workprint before corn is blown in his face.

WP: 2 secs.


[00:13:53][00:13:23]

Theatrical Version cuts to a corn leaf slicing Bobby's throat.

Bobby can still be seen in the workprint.

Theatrical Version: 1 sec.
WP: 1 sec.


[00:14:21][00:13:51]

In the Theatrical Version, the cornstalk slowly flies through the windshield of the van.

In the workprint, the three shots run at normal speed.

Theatrical Version: 2 sec.
WP: 1 sec.


[00:14:44][00:14:13]

The two cars of Angela and John drive in the workprint to the bed&breakfast.

WP: 15 sec.