Terrifier 3

Me and my wife both enjoy the terrifier movies. We finally had some time to watch the third tonight, it was not as good as I was hoping. I'll start with the positives. The first is this movies budget must've been the most by far, and it shows. It had some very creative horror scenes. The acting was great as well. I also enjoyed the run time, I thought that 2 hours was a good amount of time. Now for some negatives in my opinion. I thought that it was odd that terrifier didn't have the little girl in this movie and they decided to go with the other girl. I also personally don't like Christmas movies. The third act seemed very rushed. I may be in the minority here, but I feel as though the second movie was the best out of the three. This one had great shock value but the story was not up to par.

I've seen parts 1 and 2 and applauded this take on a new horror character to stand up with Freddy Kruger. The dark humor and crazy creative kills continue in part 3, but at times I felt that Art was mimicking himself and was too self aware and appreciative, rather than organically funny. (Like in the sun glasses scene in part 2).

The female companion to Art was interesting but I grew tired of her and she seemed to interfere with Art at times.

The special effects gore is off the chart and surprisingly realistic. I see part 3 as a worthy effort to explore some other avenues, but risks sending the overall concept on a detour that could easily end the series. I enjoyed parts 1 and 2 more. The last scene which lays some foundation for #4 looks like a good start. The producers have a goose that has laid some golden eggs, they need to be careful not to kill it.

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.

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.

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.