Five years after surviving Art the Clown’s Halloween massacre, Sienna and Jonathan are still struggling to rebuild their shattered lives. As the holiday season approaches, they try to embrace the Christmas spirit and leave the horrors of the past behind. But just when they think they’re safe, Art returns, determined to turn their holiday cheer into a new nightmare. The festive season quickly unravels as Art unleashes his twisted brand of terror, proving that no holiday is safe.
REVIEW
PROS
A more focused story. While 2016’s TERRIFIER lacked a narrative and 2022’s TERRIFIER 2 may have used too much of one, 2024’s TERRIFER 3 manages to balance it out to craft a more straightforward plot that fits the 80s slasher theme better. I’ll get to the Christmas aspect in a bit [it definitely works here], but I appreciated that this sequel focused on the trauma that both Sienna and her brother Jonathan suffered in TERRIFIER 2 [which takes place five years prior to this film]. The slings try to move on with their lives separately, as Sienna has spent time at some sort of institution while Jonathan struggles to acclimate in a college environment. But both still suffer from PTSD and only have each other to vent about it, as everyone else around them either can never understand the torture they went through, or want to capitalize on their trauma for their own fame and fortune. Add in the return of Art the Clown and Vicky, who everyone other than the Shaw siblings treat as freaks or something amusing, and you have a haunting neither sibling can easily escape from. The use of trauma is nothing new in modern slasher films [Laurie Strode and Sidney Prescott anyone?] but considering how many view the TERRIFIER franchise, it’s a nice aspect to have that allows a level of grounding to a surreal series.
A stronger confidence in direction and acting. Damien Leone really ups his filmmaking cred with TERRIFIER 3, being both subtle and over-the-top at the same time - and doing it very well. I’ll get to the death sequences in a bit, but I will say that they weren’t as extreme as they were in the second film, while still maintaining a level of uncomfortability that would make vomiting and/or people walking out the theater understandable. I also felt that Leone didn’t pad the running time with random stuff or gags, embracing the idea of giving certain information that could appear meaningless when they’re introduced but become quite important in later parts of the film. The running time, which is still quite long, flowed a bit better for me here.
As for the acting, it’s the best of the franchise so far. David Howard Thornton can play Art the Clown in his sleep at this point, balancing the silliness of the character with a level of menace that’s a bit unsettling. Samatha Scaffidi as the returning Vicky gets the most to do since the first film, creating a villain of her own that’s super memorable. Elliott Fullam does the best he can with what he’s given, while newcomer Margaret Anne Florence is a great addition to the cast as young cousin Jess. But Lauren LaVera really comes into her own as Sienna, finally becoming a true Final Girl with a strong performance from beginning to end. You hits every emotional beat needed as a traumatized survivor, while being a true badass when she has to defend herself against Art and Vicky. It’s easy to see why she’s in high demand in the genre right now, as LaVera carries the film extremely well.
The gore. While I don’t think anything in this film beats that bedroom sequence in TERRIFIER 2, Leone sure comes close in TERRIFIER 3. The opening scene isn’t for the weak of heart, quickly letting the audience know what type of movie this is. It’s violent, bloody and even children aren’t safe. The final confrontation is also messed up visually, with mutilated body parts and even fantastical sequences that will combat your sense of disbelief. But the one memorable death sequence involves a college dorm bathroom and a chainsaw to male genitals… yeah, I felt every second of that indirectly. Fans looking for blood and guts will not be disappointed here.
The Christmas aesthetic. I think the most exciting aspect of the film for me is that it takes place during the holidays. While Christmas horror is nothing new, it’s refreshing to see one take place within an already-established franchise that never focused on the holiday itself. The first two TERRIFIER films took place around Halloween time, so switching it to a holiday that many consider sacred is a move that works in this sequel’s favor. We get Art dressed like Santa for much of the film, as he goes to malls to disturb people, while also invading homes to deliver “presents”. There’s snow on the ground. There are Christmas lights and decorations all over the place. There’s even a scene where Art “bonds” with a fake Santa Claus in a bar. More established franchises should have taken this step and changed up the atmosphere because TERRIFIER 3 has a nice reason to memorably exist because of it.
CONS
That unseen death. I’m not going to spoil anything about the film, but this part of the film still bugs me. You can’t establish a character, make them feel important and then just eliminate them from the story offscreen without some sort of explanation visually. I hope this is the case where if you don’t see someone die on screen, that means they’re still alive to be used in a future installment. But if not, Damien Leone is a ballsy guy because this may alienate some fans of the franchise if this is not followed up upon in the fourth movie.
Not as fun as the second film. While TERRIFIER 3 is a good time if you know what you’re getting into, I actually prefer the vibe of the second film more. The synthwave, 80s atmosphere is one that will catch and keep my attention right away and TERRIFIER 3 doesn’t really have that. Also, a lot of the characters in this film don’t really stand out like they did in the second film [Sienna’s friends, in particular]. I think it’s a case where we’ve been through this kind of film three times already, so it feels less fresh with each installment. TERRIFIER 3 is total popcorn entertainment that improves upon a lot of things from previous films. But I felt TERRIFIER 2 was a bit more carefree and exciting due to what it presented. Both films are still better than the overrated first film though.
Art the Clown kind of being overshadowed in his own franchise. Am I the only one who felt Vicky was a more interesting antagonist than Art was in this film? Her character arc since the first film still fascinates me to the point where I want to see more of her and whatever she plans on doing on Art’s behalf. During the final act in particular, she was such a force and presence that I forgot that Art was even in the scene with her. While I like the idea of these two characters working together to create chaos, I think Art should definitely be the star and not play second-fiddle to another villain. It felt like that for a few minutes and I found it both interesting and worrying.
THE FINAL HOWL
While I found the second film to be a more fun experience overall, I do think TERRIFIER 3 does improve upon that film in a lot of ways. I like that the fantastical narrative of the second film is a bit more streamlined and grounded in this movie [besides certain things in the final act]. The use of PTSD and trauma is used very well here and it will only fuel the fire going forward. Damien Leone’s direction is more confident and focused when it comes to pacing, the death sequences [that chainsaw scene, yo] and the great use of the Christmas aesthetic. The acting is also an improvement, especially by Lauren LaVera, who gives her all as a young woman who continues to struggle with the torture Art the Clown has put her and her family through. David Howard Thornton is still wonderful as the villain, now able to play the role in his sleep at this point.
That being said, I feel that returning character Vicky kind of overshadows Art a bit during the final act, which is fine if you’re not trying to establish one of them as the next big horror baddie. I think Art will be fine, though. I also prefer the 80s, synthwave vibe of the second film despite its longer running time. And if that unseen death for an established character is legit, I’m not a fan of that move at all.
Other than that, TERRIFIER 3 isn’t for everyone. But if you enjoy tons of gore, a fun Christmas horror aesthetic and improved acting and production, I would stick with this franchise and get excited for what the filmmakers are cooking up next. Otherwise, be prepared to be on Art’s naughty list and I don’t think your private regions will want that.
Since I don’t have as much time to write longer reviews than I used to, I figured I would just post shorter reviews for horror/cult films that I feel deserve your attention.
Plot:A young woman struggling with addiction comes into possession of an ancient puzzle box, unaware that its purpose is to summon the Cenobites, a group of sadistic supernatural beings from another dimension.
Review:
THINGS I LIKED:
- The updated Cenobite designs. Instead of the usual leather S&M attire, their suits are nothing but their mutilated skin. It was a welcome change for this reboot.
- Despite having big shoes to fill, Jamie Clayton was excellent as the new Pinhead [or The Priest]. She came across as very menacing and added her own flair and personality to a popular role.
- All the actors were solid - especially Odessa A'zion as the lead [Riley] and Drew Starkey as Trevor [Riley's boyfriend].
- I didn't mind the slasher elements. Resembling A NIGHTMARE ON ELM STREET movie at times, I enjoyed the angle of having to sacrifice a certain amount of people to the Lament Configuration to gain some sort of wish/power.
- David Bruckner's direction was good and the cinematography by Eli Born is beautiful and polished. It's nice to see filmmakers caring about making a good HELLRAISER film again.
THINGS I DIDN'T LIKE:
- The film is too tame for a HELLRAISER film. Off-screen deaths? Sex barely a factor? For a movie about demons focused on pleasure and pain, this film was really lacking in that department.
- Good actors but under-written roles for character archetypes I barely cared about. Besides the two leads and the Cenobites, the other characters were just fodder to me. No Kirsty, Julia or Frank to be found here.
Overall:
A good reboot that will hopefully play it less safe in the next installment, HELLRAISER (2022) is the best installment since 1988’s HELLBOUND: HELLRAISER II. But that isn’t saying a whole lot. Still, it’s nice that after 30 years, someone actually took the time to make a watchable installment in this troubled franchise.
TERRIFIER 2 (2022)
Directed By:Damien Leone
Starring:Lauren LaVera, David Howard Thornton, Elliott Fullam, Samantha Scaffidi, Casey Hartnett, Casey Hartnett
Genre:Horror/Slasher
Running Time:138 Minutes
Score:3 Howls Outta 4 (8 out of 10)
Plot:After being resurrected by a sinister entity, Art the Clown returns to Miles County where he must hunt down and destroy a teenage girl and her younger brother on Halloween night. As the body count rises, the siblings fight to stay alive while uncovering the true nature of Art’s evil intent.
Review:
THINGS I LIKED:
- The gore - oh, the gore! If you thought the first TERRIFIER was super gory, this sequel tops it in every way. Decapitations, heads being used as candy bowls, head explosions, mutilated bodies and so on. Just a brutal film in the violence department.
- David Howard Thornton and Lauren LaVera are really solid in their roles of Art the Clown and Final Girl Sienna. Thornton is creepier than ever as the villain, especially as we get to look into his mental state. He’s captivating to watch in every scene he’s in, just with a simple smile. LaVera is a great Final Girl who comes across as smart, sassy and tough. I’d love to see more of her in the future because she definitely has star potential.
- I liked the addition of a lore for Art the Clown. Unlike the first film where there was really nothing to the character, this sequel adds a ton and makes Art super interesting. We get to look into his mind to see what makes him tick, while the protagonists seem to have a strange connection to the clown that adds a creepy layer on to why he appears to be targeting them. I love slashers that have an actual story to chew on.
- Damien Leone’s direction is more confident than it was in the first TERRIFIER. A lot of shots show a ton of style. The brutal murder sequences are choreographed super well. The sets and locations are infused with strange editing and lighting choices that create a bleak mood and atmosphere. And for much of the long runtime, I thought the movie had a nice pace going for it. Leone stepped up his game with this one.
THINGS I DIDN'T LIKE:
- The two-hour-plus run time isn’t necessary for this sequel. No slasher should be over two hours, especially when it loses steam like TERRIFIER 2. There are moments where the film could have ended, and it just felt like it kept going and going until we reached a strange mid-credits sequence that really needs to be explained in the third film. This is a homage to an 80s slasher movie, not THE LORD OF THE RINGS.
- A lot of the acting from the supporting characters was cheesy and a bit over-the-top to take seriously. I’m guessing Leone was going for 80s B-movie acting? I would have been down with that if your lead actress wasn’t performing her role in a serious manner. Some of the reactions to things by some of the performers felt either wooden or just unintentionally comical. It’s fun to watch, but the tone becomes uneven because of it.
- There are some story elements that really needed to be explained. I don’t want to spoil anything, but the film left me with more questions than answers - especially concerning the relationship between Art the Clown and the protagonists. It made the narrative feel unfinished, although this could possibly be explained in the next installment. But honestly, the answers should have been revealed within its own movie.
Overall:
TERRIFIER 2 is light years better than the 2016 original. There’s actually an interesting story this time around with decent characters you want to root for, the gore is more brutal than ever, solid lead performances and really great direction by Damien Leone. Despite a lack of substance and lingering questions to certain subplots, cheesy acting and a run time that isn’t justified to be over two hours long, TERRIFIER 2 is one of the better and more fun horror films of 2022. Considering my indifference to the first film, this was a genuine surprise for the better. I look forward to seeing where this franchise goes next because we need more fun slashers like this one in our lives.
THEY/THEM (2022)
Directed By:John Logan
Starring:Theo Germaine, Kevin Bacon, Quei Tann, Austin Crute, Monique Kim, Anna Lore, Anna Chlumsky, Carrie Preston, Boone Platt
Genre:Horror/Thriller/Slasher
Running Time:101 Minutes
Score:1 Howl Outta 4 (3 out of 10)
Plot: Campers at an LGBTQ+ conversion camp endure unsettling psychological techniques while the campsite is stalked by a mysterious killer.
Review:
THINGS I LIKED:
- Kevin Bacon and some of the other actors. It’s nice to see Bacon returning to his campsite horror roots, considering his first major horror role was in 1980’s FRIDAY THE 13TH. He always plays a great villain, and he makes the most of his twisted role as a therapist at a gay conversion camp. Other actors, like Theo Germaine and Austin Crute, also make an impression as the teen victims at this camp.
- The picture looks nice. It’s a Blumhouse vehicle, so of course the cinematography is very good. I think more could have been done with the location, but it’s a nicely polished movie.
- THEY/THEM has a great concept. There should be more movies catered to the LGBTQ+ community and the idea of a conversion camp is horrifying on so many levels. There’s no need for a slasher villain when you have poor teens being put through things that are supposed to “make them normal”. The film does touch on some of those things as the counselors get more vicious with their daily exercises. Unfortunately…
THINGS I DIDN'T LIKE:
- THEY/THEM has a bad execution. For a film with commentary on how terrible gay conversion camps are, the film barely does anything with that idea. We get a scene with shock therapy. We get uncomfortable scenes in a regular therapy session with counselors belittling the campers. But other than that, not much is done because the film is trying to be a slasher movie too. About that…
- The film is a terrible slasher movie. We get one kill in the opening. And then we have to wait about an hour or so until some slashing goes on. Not only are the murder sequences done off-screen [lame], but the slasher aspect doesn’t help THEY/THEM at all besides giving the film a bit of action and motivation. If you’re not going to bother with any stalking and slashing in your slasher movie, then you’re doing it wrong. Besides, the gay conversion stuff is the real horror and they wasted potential on that as well.
- What was John Logan thinking? While Logan has written some great movies like GLADIATOR, SWEENEY TODD and SKYFALL, his direction leaves a lot to be desired. As an openly gay filmmaker, you would think he would probably be more careful with this type of movie more than most. But Logan plays it too safely and would rather focus on stereotypes and being hateful towards the community rather than providing a thoughtful commentary on the evils of these camps hurting people who have nothing wrong with them. I see that Logan wanted to make his own version of GET OUT here, but the film doesn’t have anything really to say, And when it does, it’s confusing and kind of insulting at times. Even the slasher portion is weak because it’s a whodunit with just one suspect. How does that work?? What a waste of potential.
- That P!nk musical moment. I love P!nk. I enjoy her song “F*cking Perfect”. And I was okay with the young actors singing the first couple of lines of the song as a way to bond. But then they just kept going like it was an episode of Glee - and not a good episode either. This was really cringe. I pretty much checked out at that point.
Overall:
THEY/THEM is a film that had so much potential to be something important for the LGBTQ+ horror community with its conversion camp concept, while adding a slasher element to it considering Kevin Bacon was starring in the film. Unfortunately, the commentary is a confusing mess that probably does more harm than good. The film is only really a slasher for the last 15 minutes, with no real tension or suspense leading to the murder sequences. We have random musical moments that almost made me want to stop watching [I hope they paid you well, P!nk]. The best I can say about THEY/THEM is that the film looks nice and most of the acting is fine [especially Kevin Bacon]. Stick with HELLBENT for a good LGBTQ+ slasher and BUT I’M A CHEERLEADER for a great film that involves the perils of conversion therapy. The most clever thing about THEY/THEM is unfortunately its title.
THE BLACK PHONE (2021)
Directed By:Scott Derrickson
Starring:Mason Thames, Ethan Hawke, Madeleine McGraw, Jeremy Davies, E. Roger Mitchell, Troy Rudeseal, James Randsone
Genre:Horror/Thriller
Running Time:103 Minutes
Score:3 Howls Outta 4 (7 out of 10)
Plot:Finney Shaw, a shy but clever 13-year-old boy, is abducted by a sadistic killer and trapped in a soundproof basement where screaming is of little use. When a disconnected phone on the wall begins to ring, Finney discovers that he can hear the voices of the killer’s previous victims. And they are dead set on making sure that what happened to them doesn’t happen to Finney.
Review:
THINGS I LIKED:
- The lead actors carried this movie. Child actors could be hit-or-miss when it comes to horror films, but Mason Thames and Madeleine McGraw were fantastic as two siblings who live in an abusive household and soon have to deal with The Grabber. Thames is convincing as a shy kid who has to learn to fend for himself to get out of a dangerous situation. McGraw is even better as the worried sister who uses her dreams to see what’s going on in order to save her brother and other children who may be targeted. Add Ethan Hawke in a small, yet really creepy role as the Grabber and you got yourself some great acting that will keep you invested from beginning to end.
- Scott Derrickson’s direction was pretty solid throughout. Best known for his work on 2012’s SINISTER and 2016’s DOCTOR STRANGE, his work on THE BLACK PHONE isn’t as strong or as stylish as those two movies. But the 70s aesthetic works throughout and the supernatural elements involving the phone calls and the psychic dreams add a nice level of tension and suspense to this thriller. I thought Derrickson did a good job bringing Joe Hill’s short story to life.
- I thought Joe Hill’s story was adapted quite well. The main characters are fleshed out enough for us to understand them. The situation is brought to life in a tense and creepy way. I liked how the film was less of a horror movie and more of a police procedural at times - as well as a strange coming-of-age story for Finney, who takes the lessons of the Grabber’s previous victims in order to have a fighting chance of surviving. Some might feel the film was too long considering Hill’s story is pretty short and to the point. But I never felt like it dragged a ton and thought the material was handled well.
- I love The Grabber’s creepy mask. If you ever needed a mask to put some fear into people during the Halloween season, that’s definitely a choice. I thought it added some creepy personality to The Grabber when he would be quiet to intimidate Finney.
THINGS I DIDN'T LIKE:
- The film needed a bit more backstory. I felt things happened and none of them were really explained. Why are the phone calls supernatural? Why can Finney and The Grabber hear them? Why is the sister a psychic like her late mother? Why was Finney chosen by the previous victims to be the one to stop The Grabber? How did The Grabber’s brother, who was living with him, not realize what was going on until it was too late? Sometimes it’s better not to know these things, but I feel since this isn’t a movie meant to create a franchise, some of these answers would have been appreciated.
- THE BLACK PHONE isn’t really a scary film. It has some creepy moments here and there, but it’s not a movie that will terrify people. I think it’s because we barely see The Grabber a whole lot and we’re more focused on Finney learning from the children before him how to escape his ordeal. I never really felt Finney’s fear, despite his desperation and frustration over how to get out of this situation. More of that would have added some much needed power to this film.
Overall:
One of the better horror film releases of 2022, THE BLACK PHONE is carried by solid lead performances to create a creepy thriller involving a masked kidnapper and a cunning child who receives help from the afterlife to escape the kidnapper’s clutches. While Ethan Hawke isn’t in the film a whole lot, his presence as The Grabber can put a chill down your spine through his performance and use of a killer mask that will most likely gain a cult following for years to come. But it’s the work of child actors Mason Thames and Madeleine McGraw who bring the heart to the film, portraying siblings who are caught in the Grabber’s web from different angles. SINISTER’s Scott Derrickson does a nice job adapting Joe Hill’s short story and capturing a creepy 70s aesthetic, while keeping his style simple to let the story and the performances be the focus. Do I wish the film was scarier? Yes. Do I wish certain plot devices [especially some of the supernatural aspects] were explained and developed better? Absolutely. But for what it is, THE BLACK PHONE is worth making a call for.
RESURRECTION (2022)
Directed By:Andrew Semans
Starring:Rebecca Hall, Grace Kaufman, Michael Esper, Angela Wong Carbone, Tim Roth
Genre:Thriller/Horror/Drama
Running Time:103 Minutes
Score:3 Howls Outta 4 (7 out of 10)
Plot:A woman’s carefully constructed life is upended when an unwelcome shadow from her past returns, forcing her to confront the monster she’s evaded for two decades.
Review:
THINGS I LIKED:
- The two lead performances are fantastic. Rebecca Hall is a force of nature as Margaret, a woman who lives a mechanical and routine life until a man from her past destroys that once he returns in her life. Hall portrays a woman so in control of her own life that she slowly peels back those layers to reveal that she never was in control in the first place. Her performance grows more manic as the film moves along and her long monologue in the middle of the film where she reveals her truth is just wonderfully recited. It’s honestly a masterclass of trauma portrayed on screen. On the other hand, Tim Roth’s subtlety as David brings an eeriness to the film, displaying power just with a single look or a soft-spoken voice that rings louder than any yell. These two are wonderful as they play off the other, making them the reason to watch RESURRECTION.
- The depiction of abuse is realistically displayed. From Margaret counseling interns about abusive relationships, to herself losing grip on reality as she spills her secret abusive past, RESURRECTION doesn’t hide how trauma can affect people. David’s presence alone upsets Margaret, telling us how powerful he is as a character without a single word. David doesn’t do anything, making Margaret lose control of herself and do rash things to make sure her control is maintained. This alienates her daughter. This pushes away a married co-worker she’s been having an affair with, who actually cares about her. It makes us wonder whether Margaret is being over-the-top and losing her mind, or if David really is this evil person who has done her tons of emotional harm. And when David gives Margaret simple commands to teach her “kindness”, which Margaret succumbs to out of habit, it shows that even the simplest of things can be abusive. Things reach a really weird and chilling climax, showing us that trauma can always be triggered no matter how much we try to control our lives away from the past.
- I enjoyed Andrew Semans’ simple direction. RESURRECTION is not a stylish film, but it’s a nice looking one with a pace that intensifies as Margaret loses control of herself. The edits get a bit crazier. Shots seem to be repeated to show this never ending cycle Margaret has put herself on. Tim Roth is always shot in a way that displays power. Rebecca Hall’s shot scales tend to get smaller and smaller, letting her blend more into the background before the climax. For the man’s second feature film, it’s some good stuff.
THINGS I DIDN'T LIKE:
- I’m not sure how I feel about the film’s final act. While RESURRECTION does get a bit crazy in terms of what David’s motivations are with Margaret [won’t spoil it here], I felt the conclusion to the film was really jarring compared to everything that came before it. For a movie that was pretty grounded for most of its run time, going the David Lynch/David Cronenberg/Darren Aronofsky route wasn’t something I was expecting. I suspect it didn’t hit me as hard due to not having any past experience with abuse nor the struggle of being a parent. But it just left me confused as to what I was supposed to get out of the very end of the film. Maybe I have to watch it a few times to get a true interpretation on the things that happen in the final moments. I respect the storytelling, but I’m not sure if I connected to it other than feeling weird about it.
Overall:
While the final act jarred me quite a bit, to the point that I’m still trying to figure out what I saw and what it actually means, I felt RESURRECTION was a good psychological thriller that handled the trauma of abuse quite well. Through Andrew Semans’ direction that starts out simple but intensifies as certain characters start to lose control of their situation, we see through his eyes that trauma isn’t something one can control or hide once triggered by an outside force that will quietly help you fester in it and do you harm. The lead performances by Rebecca Hall and Tim Roth are excellent. Going from mechanical and routine to chaotic and frantic, Hall’s portrayal of trauma is a masterclass in acting. Roth’s quiet menace has to also be applauded, as he does a lot with a simple look or soft-spoken dialogue that’s not as quiet as it seems. The Lynch/Cronenberg/Aronofsky type of ending left me a bit odd considering how grounded everything else was prior to it, but maybe it’ll require another watch or two to really feel the effects of its message. That being said, definitely seek this one out on Shudder if you have the time for a slow, psychological burn.
