Terrifier 3 (2024) Review

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.