David Slade’s newest film, “Dark Harvest,” an adaptation of the novel by Norman Partridge, is the type of Halloween film often sorely missed from October releases. It’s not necessarily trying to scare you or throw you neck-deep into a pond of “elevated horror” motivated by deep traumas and existentially motivated villains. Though movies of that kind certainly have their deserved and cherished space this season, “Dark Harvest,” with its vast cornfields, isolated community, and pumpkin-headed creature, simply aims to scratch the spooky, autumnal itch. 

The film centers on the rural town of Bastion, Illinois, in the 1960s, where Halloween night is not for trick-or-treating. Instead, it promises the annual return of Sawtooth Jack, a vicious entity whose presence provokes a violent faceoff against the town’s teen boys tasked with taking him down. If they fail, the harvest and the town are doomed. 

The boy who takes down Sawtooth Jack gets a shiny new car and permission to leave town (which is forbidden to the other citizens). His family also receives a new house in a nicer part of Bastion and membership in the town’s guild. Richie (Casey Likes) is the younger brother of last year’s winner, Jim (Britain Dalton), who sped off in his new Corvette and never returned. Desperate to reunite, Richie plans to be this year’s victor. Yet the darkness surrounding the town begins to untangle, and Richie comes to battle Sawtooth Jack and the city of Bastion itself.

The format of “Dark Harvest” is not unlike a modern lovechild of “The Hunger Games” and “Children of the Corn.” The tone is similar, grave in occurrences, yet somewhat suitable for a younger audience with oversimplified emotional calling cards and teens at the fore. Where the film steps up is in its carnage candy, with out-of-the-blue kills and unabashed brutality afoot. A hierarchy is quickly and easily established, with jocks in letterman jackets, greasers with “Bandit” painted denim jackets, and prepsters with glasses and collared shirts. There’s not much nuance to the identities of Bastion, but it’s not missed, as the priority is to establish the players before the onslaught begins quickly. 

Slade’s filmmaking is kinetic during the film’s central event, “The Run,” where the boys, masked up and armed, pursue Sawtooth Jack (and, inexplicably, each other). There’s a phantasmagoric quality to these scenes, boys bounding down the street so frantically it’s hard to discern them as individuals rather than a rabid hive. The design of Sawtooth Jack is deliciously spooky, as his rotted pumpkin head and sinewy zombified body terrorize the corn fields and country roads. These pulsing scenes are matched with eerie but effective slow-moving sequences. Yet, the worldbuilding of “Dark Harvest” is so thoroughly neglected that much of the experience watching is quite confounding as we watch events take place with little to no context.