Terrifier 3

For gorehounds, Damien Leone's 2016 offering 'Terrifier' was a bloody good time. A violent splatter-fest that didn't try to be anything other than that, it followed Art the Clown on a murderous Halloween night rampage. It's follow-up, 2022's 'Terrifier 2,' was an improvement in almost every regard: bigger, funnier and bloodier. Both films were met with critical acclaim (from a certain kind of critic, that is) and did good business at the box office. Self-funded, Leone's first two 'Terrifier' films are gruesome, grisly, grand guignol masterpieces. Can 'Terrifier 3' live up to its predecessors?

The third instalment in the franchise once again follows everyone's favourite mute psychopath, Art the Clown. It is Christmastime and, united with his newly-birthed head (watch the second film for this to make any semblance of sense) and resplendent in a Santa costume, Art embarks on another killing spree. Meanwhile, Sienna Shaw- the heroine from 'Terrifier 2'- is trying to move on with her life, after her close shave with the fiendish clown five years earlier. Art, however, has other plans for Sienna.

'Terrifier 3' is not an insightful movie. It doesn't have a message, or explore any themes, or contain satirical weight. Leone isn't interested in that. He isn't trying to make 'It Follows,' or 'Smile,' or 'Rosemary's Baby.' He doesn't want to make a horror with depth and nuance. He is out to make a spectacle of splatter; a celebration of blood, guts and gore. He aims to out-do other horror directors by upping the ante when it comes to carnage, by throwing everything, including the kitchen sink and the plumber, at viewers in an attempt to provide thrills and chills. He succeeds.

Armed with a bigger budget than before, Leone crafts a brilliantly brutal festival of the extreme that is a worthy addition to the 'Terrifier' franchise. It is wilder, funnier and darker than its predecessors. Over-the-top and excessively bloody, if you expect Leone to operate within the confines of what is traditionally called 'good taste,' you'll be in for a bitter disappointment. He doesn't just push boundaries, he beats them up and breaks them down, with a hatchet to the head and a screwdriver to the spleen.

Having said that, scenes that don't feature any violence are generally hammy, lacking power or momentum. While Sienna is still a compelling character, Leone's often awkward dialogue and cliched characterisation means the film has a tendency towards the dull when Art, and his accomplice Victoria, aren't on screen. Although handled better than in the first two films, these moments- which are the bulk of the narrative, really- underscore the fact that Leone's strengths lie not with narrative or characterisation, but with creative, insane bloodshed.

Which, thankfully, the film is full of. The practical effects and make-up are breathtakingly gruesome, and the action sequences are fabulously unhinged and brutal- yet funny. The film is reminiscent of Sam Raimi's 'Evil Dead 2', successfully balancing extreme bloodshed with dark comedy. While not as accomplished or as consistently amusing as Raimi's film, it's still hauntingly hilarious, full of unexpected moments of macabre madness.

Moreover, Olga Turka's production design is commendable, effectively contrasting violence with an innocuous Christmastime aesthetic. Leone and director of photography George Steuber's cinematography also impresses, compounding the film's suspenseful atmosphere. Paul Wiley's score is similarly effective at generating dread and mood, and the whole affair is well-edited, meaning that, even in its weaker moments, it doesn't drag.

As in the first two, the film's main strength lies with David Howard Thornton's incredible performance as Art the Clown. His is a masterpiece of physicality, as if Buster Keaton were reincarnated via some evil ritual. Thornton's background as a mime aids him immeasurably, and he portrays the sadistic killer's perverse glee and menacing mirth with aplomb. Over the three films, Thornton has created one of the best horror characters in years; his performance alone should have viewers clamouring for a 'Terrifier 4.'

Lauren LaVera also impresses in the role of Sierra, demonstrating the character's underlying trauma quite effectively. Although she has many awkward lines to deliver, she does so well, making for a compelling protagonist. Samantha Scaffidi is great in the all-too-small role of Victoria, Art's accomplice, while Antonella Rose and Margaret Anne Florence do fine work as Sierra's cousin and aunt, respectfully. Additionally, Daniel Roebuck leaves a positive impression as a doomed Santa impersonator, as does Alexa Blair Robertson as a podcaster. (Horror fans will also take note that the great Tom Savini makes an appearance, albeit in a blink-and-you'll-miss-it cameo).

In conclusion, Damien Leone's 'Terrifier 3' is a bloody, brutal and brilliant horror comedy, brimming with the macabre menace the franchise is known for. Featuring remarkable practical effects and make-up, as well as an emotive score and fine cinematography, it is a wild ride from start to finish. Full of over-the-top violence, and boasting a terrific central performance from David Howard Thornton, 'Terrifier 3' is scarily good.

Now that we've set the stage, Terrifier 3 makes history-not just for its exaggerated, gory kills or shocking gimmicks, but because it's actually enjoyable for me. Usually, bigger budgets don't mean better, but when passionate, talented filmmakers get involved and hire an editor who knows their craft, it makes all the difference. Good pacing can elevate even the goriest horror. Art the Clown is just as hilarious and terrifying as ever, but Victoria's wild performance stole the show-she's more terrifying than Art. Lauren LaVera, as Sienna, gives it her all, portraying raw PTSD. She might just be the most traumatized final girl ever. Shockingly, I'm now hyped for Terrifier 4.

Too long, too disjointed, and more like a collection of random ideas strung together with duct tape. Sure, the practical gore effects are o.k. But beyond that? It's a hot mess. The plot is nonexistent, the messianic arc for Sienna Shaw feels forced, and continuity has taken a backseat to shock value. It's as if Leone's trying to ride the wave of the franchise's success by throwing every half-baked idea at the screen, hoping something sticks. Unfortunately, the only thing that sticks is the blood. Art delivers another night to dismember, but as far as coherent storytelling goes? Don't bother looking for it here. It's not horror, it's a lazy bloodbath that thinks shock value is a substitute for storytelling.

If scary movies aren't your thing, chances are that you are likely going to hate this thin, blood-soaked piece of independed cinema. But if you are a fan of traditional slasher flicks with creative kills and satisfying performances, this might just become your favourite one so far.

There isn't too much going on in the film plot-wise. In fact, a description of Terrifier 3's plot wouldn't be much longer than a summary of one Friends episode. Instead of answering the questions from the previous installment, the movie just brings up even more questions for the now-confirmed sequel, which may unsatisfy some fans, but at the same time already creates hype for Terrifier 4.

Production values are miles ahead of the previous films and it is pleasing to se Damien Leone improve so much in his craft.

As for the period before the release of the film, I personally think some of the marketing choices were a bit over-the-top, such as the release of an official hot-line, but that doesn't diminish the quality of the movie itself.

Overall, the movie is an improvement over the previous installments and it will definetely satisfy you if you are a Terrifier/slasher fan.

Let's start this off by saying, I liked the first two. The first one was ROUGH, and showed off its low budget and humbleness. Second one was great, was striking that perfect balance of shock, gore, and comedy. Third one... Too much shock, for shock sake, and not as much comedy.

The major issue here is weirdly too much backstory and "LORE", they're trying to add rules and logic to everything, while also being cheeky fun. The lore is convoluted and confusing. You can't be like; eh don't think too much about it, and then dedicate a quarter of this film to the logic behind the Art Demon.

Then there's the "SHOCK VALUE" of this one which was more TEENAGE REBELLION than genuine shock. "Isn't it crazy the melted face lady is masturbating with a shard of glass?" "Am I pushing your buttons Christians with this ham-fisted blasphemous JESUS symbolism?" Eh, just lost the tastefulness and subtly. There was shock, in the other two, for sure, but it was never so juvenile and basic.

Everything else was fine, not great. The gore was way better, they remembered humans have layers inside of them, and you don't see as much hollow cavities with really floppy and rubbery shells like in the first two.

If you missed it in theaters, not that big of a deal.