Christopher Nolan's upcoming sci-fi film Interstellar, starring Matthew McConaughey, Jessica Chastain, Anne Hathaway, Casey Affleck, and Matt Damon, is about as closely guarded a secret as any in Hollywood right now. But the Fort Macleod Gazette in Alberta, Canada, near where the movie is being filmed, has a kernal of info. Literally. In an on-set report published on their website, they state the plot description of the film as thus: "Set in the future, the movie details the toll climate change has taken on agriculture, with corn the last crop to be cultivated. The scientists embark on a journey through a worm hole into other dimensions in search of somewhere other crops can be grown."
So the plot of the much-anticipated follow-up to Nolan's Dark Knight Trilogy and Inception hinges on corn? Apparently so. But corn doesn't just pop. It has a history of making for good pop culture as well. Here are 10 examples of corn in movies, TV, and music for which we've been all ears. (Sorry, we couldn't resist.)
The Corn that Hides Cary Grant from that Cropduster in North by Northwest
Billy Mumy's Cornfield on The Twilight Zone
Charlie Chaplin Eating Corn
When Dead Ballplayers Hide in Cornfields
The Cornucopia in The Hunger Games
Children of the Corn
The Sadly Devoured Corn in Sloop John B
More: Matt Damon Joins ‘Interstellar’ in an Evil Plan to Top Ben Affleck’s Batman News How ‘Batman & Robin’ Paved the Way for Christopher Nolan’s Trilogy Why Are Christopher Nolan’s Fans Such Jerks?
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It's easy to hate on the Twilight movies. They're the epitome of indulgent fan-servicing filmmaking alienating anyone on the outside of their cultish fanbase. With consistent navel-gazing screenplays by series screenwriter Melissa Rosenberg (adapted from the equally shallow source material from author Stephanie Meyers) there's little reason to think future installments could ever transcend their predecessors.
But whereas Twilight New Moon and Eclipse contently burrowed themselves under the forlorn faces and over-dramatic moping of stars Kristen Stewart Robert Pattinson and Taylor Lautner director Bill Condon (Dreamgirls Kinsey Candyman 2: Farewell to the Flesh) unearths a saving grace in The Twilight Saga: Breaking Dawn - Part 1: pure insanity from which blossoms color comedy and scares. The movie is one giant wink to the camera—and it serves the melodrama of Twilight tremendously.
The first half of the not-quite-epic Twilight conclusion kicks off with the wedding of Bella (Stewart) and Edward (Pattinson) a long-awaited event Condon manages to spin into an authentically nerve-wracking and touching sequence. Finally a Twilight movie with an obvious purpose—Bella and Edward have been waiting since Movie One to consummate their relationship (waiting until marriage) but lingering at the end of every daydream every loving gaze every sweet nothing is the gut-wrenching fact that Bella will give up her humanity. Breaking Dawn - Part 1 confronts this dead on with an overtness absent from the previous movies.
While the script is still committed to visualizing Bella Edward and Jacob's uncinematic inner monologues Condon peppers every scene with the zest of ridiculousness saving Breaking Dawn from ever dragging. Edward cracking a bed in half during his first sexual experience is just the beginning—the movie features everything from demon-fearing Brazilian housekeepers to body horror straight out of a Cronenberg film to corny CSI-esque shots of vampire venom jetting through bloodstreams. In one scene Jacob (Lautner) morphs into canine form to telepathically declare (in Lautner's brooding "tough guy" voice) that he is the true Alpha Male of the pack. The moment's hammy and trite but Condon shoots it with all the over-the-top machismo exuding from the wolfpack. Subtle no. Fun yes.
Breaking Dawn - Part 1 is far and away the best of the Twilight series. Sexy silly scary and stupid the movie's tonal balancing act amounts to an Evil Dead for tween romantics. There's gravity to the events we're witnessing on screen (Pattinson and Stewart even have a tense argument that results in an explosion of their previously-presumed non-existent emotions) but a self-reflexive lens keeps the normally-idiotic confessions of love and hushed prophetic warnings of the Cullen family in check. The operatic tale crescendos with buckets of blood and "tragedy" straight out of a high school Shakespeare production—completely in tune with the outlandish plot and a satisfying cliffhanger for Part 2. The movie is weighed down by the baggage that comes with a Twilight movie but the formula is shaken up just enough to inject the undead franchise with a little life.