For many, “Terrifier 3” may be the most violent and gory film they will ever see. I will be blunt in saying that this film is not for the faint of heart. I cannot recommend it to anyone who struggles with ingesting violent imagery. Never has there been a film that has stressed me out like this. In fact, during a rewatch, I nearly walked out of my theater. The visceral intensity of the violence grew to become deeply overwhelming–and yet in a twisted, sadistic way, it was a damn good time. And for horror enthusiasts and those feeling courageous enough, “Terrifier 3” is an absolute must-see, especially for both the Halloween and Christmas seasons.
“Terrifier 3” is a violent film, as can be expected from the horror genre. While not officially rated by the Motion Picture Association (MPA), the film received many 18+ ratings globally, indicating it likely would’ve received the rare NC-17 rating in the United States. Because of this, as the film becomes more widely distributed in movie theaters, many have set up warning notices cautioning potentially interested moviegoers about its hyperviolent material. It doesn’t help that upon its release, its predecessor received extreme, visceral reactions from audiences, many include reports of vomiting, passing out and an instance in which a theater had to call an ambulance.
This installment continues protagonist Sienna Shaw’s storyline five years after the events of “Terrifier 2,” still struggling to return to everyday life after her traumatic clash with Art the Clown. Matters are only made worse after he is bizarrely reborn thanks to the spirit of the simple-named “Little Pale Girl.” Art eventually resumes his reign of terror in the festive Christmas season along with a new accomplice, Victoria Hayes, the deformed survivor from the first movie, after being possessed by the Little Pale Girl as well.
In spite of its bizarre storyline, something that truly sets the “Terrifier” storyline apart from other slashers is its surprising amount of heart. Excluding the first film, the “Terrifier” movies present an unexpected, yet welcoming layer of humanity largely brought from its protagonist Sienna, compellingly played by Lauren LaVera.
Although traumatized from the events of the previous film, writer/director Damien Leone continues Sienna’s arc as an unlikely hero standing up against evil to protect those she cares about. As basic in premise as it may be, it’s quite admirable for a slasher film to pursue a sense of emotional depth. And it likely wouldn’t have succeeded without the captivating presence LaVera has as Sienna.
Contrasting the heartfelt nature of Sienna’s character is David Howard Thornton in his twisted performance as Art the Clown. Similar to the wisecracking personalities of slasher icons such as Chucky and Freddy Krueger, Thornton leans into more humorous territory with Art, emphasizing the “clown” aspect of his character.
In an era where cringe-inducing failures can be found in the unfunniest corners of the internet, Thornton revives the lost art of physical comedy. Thornton provides a layer of humor to the “Terrifier” franchise and is at the top of his game in this entry. Where villains in modern-day slasher films often feel boring and forgettable, Thornton stands out by delivering a performance reminiscent of a sadistic, mass-murdering Charlie Chaplin.
Despite how hilarious Art is, he is equally as terrifying. As soon as Art drops his smile the tension of the scene skyrockets. It’s fascinating to see Thornton effectively snap from playful to menacing in an instant, and it’s more so intimidating seeing it vice versa.
For a low-budget, independent horror film, “Terrifier 3” is incredibly well made. It’s impressive to witness the growth of Leone’s abilities as a filmmaker throughout his “Terrifier” franchise, dating back to his 2008 short, “The 9th Circle.” Whereas previous installments showed clear signs of cheap, amateurish filmmaking in its cinematography and editing, this sequel contains a refined, professional look while still maintaining its ‘80s grindhouse-inspired aesthetic. While still being a lengthy film for its genre, Leone certainly improved upon cutting the film and fixing the pacing, something past entries notoriously struggled with.
Additionally, the Christmas setting is a refreshing change of pace from the Halloween-themed environments in previous movies. Although not a new concept in the horror genre, the incongruous nature of the horrific murders set in the festive Christmas season adds to the darkly comical tone the films are steadily adapting to. Art’s shenanigans are the funniest they’ve been thanks to the childlike innocence radiating from the comforting holiday and his new Santa-inspired appearance. It’s hilarious to see a mass-murdering, demonic killer clown get euphoric over the sight of a random drunk guy dressed as Santa Claus.
The film somehow manages to find more creative methods for Art to slaughter his helpless victims. People are killed in even more graphically extreme ways than their predecessors, which was already a seemingly unfathomable feat to accomplish. While it doesn’t entirely look realistic, why would anyone want it to be anyway? Part of the fun in these movies is the impressive maximalist display of gore through its practical effects, which are among the best I’ve seen throughout the history of cinema. In an era where digital special effects have become tiresome to sit through, it’s refreshing to see a film return to more of a practical approach, especially one as expertly crafted as this was.
With this film Leone is pushing the boundaries of what’s morally acceptable to showcase on screen. His daring, unafraid approach to filmmaking allows him to create horrifically graphic imagery not found in major Hollywood pictures but also can result in potentially tasteless material. The film’s bold decision to include children as some of Art’s victims, while certainly disturbing, can start to feel like a lazy, unappealing method to scare audiences. While not entirely unnecessary in the film (one instance effectively plays out like a well-timed joke), the concern arises if this will become a standard for uninspired filmmakers to deliver cheap shocks.
Regardless, audiences can expect a good time watching “Terrifier 3″ if they have the stomach to handle it. Beyond the buckets of blood is a delightfully bizarre, yet ironically humane story that distinguishes itself from a seemingly endless catalog of slasher movies. Cementing itself as one of the best in its genre, “Terrifier 3” is a legendary splatter extravaganza that establishes a promising future for Art the Clown in horror iconography.
4.5/5
