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.

While the dialogue has never been top notch, and does 't have to be, especially the dialogues with Jonathan were beyond cringe this time around.

The movie delivered on the mindless slasher trope but I can't shake the feeling the extra budget went to marketing instead of actually trying to make a better movie.

The second movie had a scene that crossed a certain boundary and I was expecting the third installment to do at least the same, or more. It did add new things to Art's repertoire but it didn't have the same effect on me.

A lot more happened off screen that diminished the "in your face" attitude the first two movies had. And I'm not talking about a certain scene that went amiss towards the end, that was most likely the only bit of actual storytelling that took place and left the audience guessing.

No, probably budget cuts to.... Leave more money on the table for marketing.

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.

This Terrifier series is fascinating. The first movie kind of sucks, having nothing memorable narratively or cinematically, really, beyond introducing a memorable villain and having impressively grisly violence. It's a slasher movie not broken down to its bare essentials, but driven down further somehow. It's a bit of a nothing movie, without a plot and seemingly not caring.

Then the second came along, made the villain even more memorable, and had scenes of bloodshed that proved more shocking. It also had a pretty good story and character development (don't think that's a popular opinion, but I liked it), and introduced more of an intriguing series mythology, for lack of a better word.

Terrifier 3 takes all that stuff the second movie did well and I think does it even better. Terrifier 2 felt a bit overlong, at 138 minutes, with Terrifier 3's slightly shorter runtime helping the pacing immensely. I still feel surprisingly invested in this series, which is becoming something genuinely fantastical. They could eventually overdo that side of things, and they almost do here, but I really dig what these films have evolved into.

The violence is disgusting. It's at least as sadistic as the second, maybe more. Art the Clown is hilarious when he's not killing people but I hate him deeply. I love to hate him. Unironically one of the best villains of the last 10 years. He's Harpo Marx if Harpo was also a serial killer.

The final act elevated this film immensely. Chainsaws have never sounded louder. I was worried I'd have a panic attack and I felt queasy. I feel a bit shaken after the whole thing, now that it's over. The sadistic violence played a part, but I think I also cared. These characters have all suffered so much, and I was so invested in them winning. The final scenes had me squirming in my seat more so because I was invested, rather than the violence. I think that's impressive, or maybe I'm just easily entertained.

There are some scenes here that look too cheap, and the pacing isn't perfect. Occasional rough line deliveries and inconsistent acting here and there, too. It sort of ties the first movie and the second together in a way that felt a bit rough early on. But much of the second half had me feeling so jittery, and I have to celebrate a movie that gets to me like that. The last month or so has had some high-profile disappointments new release-wise, so I'm really happy Terrifier 3 was a film that exceeded my expectations. This is the best of the series so far.

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.