Art The Clown Is Back In One Of The Nastiest Horrors Ever

It’s literally impossible to recommend “Terrifier 3,” a horror movie so nasty and nightmarish that it’s bound to be an endurance test for even genre buffs with the most hardened nerves and strong stomachs. But it’s also easy to admire “Terrifier 3” and what writer/director Damien Leone has accomplished. Many horror movies aim to be transgressive, to shock and disgust, but here’s one that actually manages to pull it off. It pushes your buttons with such deadly force that your inner machinery breaks –– you cannot believe what you’re seeing. One can never accuse this movie, or this franchise, of taking the easy path or softening its edges to make for a safer, more palatable experience. Here’s a horror movie that declares itself to be dangerous, and actually delivers on the promise.

So, all of this asks a pretty big question: Who the heck are these movies for? The gore-soaked adventures of demonic serial killer Art the Clown are films for a certain corner of horror fandom, the kind that sheepishly admits to having seen it all and wanting something to shock their system to make them feel alive again. That’s a polite way of saying “sickos,” but I say it with sheepish grin because it’s clear that I exist among those sickos.

I’m fascinated by these movies; they blend nightmarish comedy with eye-scalding violence, practical creativity, and unrelenting, intentionally punishing Looney Tunes-but-with-more-viscera cruelty. You’ll never catch me telling someone that they need to see “Terrifier 3,” but you absolutely will see me warning folks about it, and assuming that warning will double as a recommendation for the right person. Some audiences just want a movie that’s going to push them to some kind of limit, and Leone is ready to deliver the kind of experience that’s destined to be the stuff of genre legend, whether you like it or not. To watch one of these movies to the end is to feel complicit in an act of evil.

Sound like fun? If so, welcome to the intended audience for “Terrifier 3.”

While the first film in the series was essentially a proof-of-concept (evidence that Leone could make an ’80s-flavored slasher built upon gory set pieces fueled by “how’d they do that” practical effects wizardry), the sleeper hit sequel tried something new. It added a story. A mythology. A layer of dark fantasy planted within the traditional slasher movie set-up that evokes an unusual blend of “Labyrinth” and a snuff movie orchestrated by the Marx brothers. Leone doubles down on the fantastical elements in part three, deepening the supernatural mythology and recalling the soap opera elements that ultimately came to define the “Saw” franchise at its most addictive. You really can’t skip an entry; this is the kind of slasher movie where the plot actually kinda-sorta matters.

This is perhaps best embodied by Sienna, one of the few characters to walk away from part two still drawing breath. Played with genuine earnestness by Lauren LaVera, Sienna is the perhaps the most quietly vital element to “Terrifier 3” — a horror movie “final girl” who is allowed to be deeply psychologically unwell following the events of the first movie, and one whose journey to becoming a destined warrior in the battle against a hell-powered demon clown feels more compelling than you’d imagine. We first catch up with her in part three exiting a psychiatric care facility years after she used a magical sword to chop off the head of her nemesis: the hell-fueled prankster/killer/demon consort Art the Clown. Her scenes are unusually wholesome, which makes her struggle to survive hit with a force that lends an essential counterbalance to the wanton cruelty of the film’s biggest set pieces.

Meanwhile, Art the Clown, having, uh, recovered from his wounds, finds himself a Santa outfit, and embarks on a fresh rampage on Christmas Eve. (And if you’re wondering how blasphemous this gets, let’s just say it gets “character wearing crown of thorns gets whipped with intestines” levels of blasphemous. Merry Christmas!) Once again, David Howard Thornton’s wordless performance is chilling stuff and a reminder that Art hasn’t become the latest t-shirt and tattoo horror craze for no reason. This is a slasher villain that doesn’t feel like he echoes the greats like Freddy and Jason, but shoulders his way into that line-up by doing his own thing. It’s too early to call him iconic, but it’s refreshing to see a horror villain presented with such blistering confidence in his own future legacy. He’s earned the hype.

Naturally, Art the Clown is the immediate draw for the seasoned horror fans wanting to be tested and repulsed, and Thornton’s blend of lil’ stinker attitude and bottomless capacity for violence is tough to swallow by design. Leone’s camera doesn’t cut away and it certainly doesn’t show characters (or the audience) any level of mercy. In “Terrifier” movies, bodies come apart in unexpected ways due to all manner of tools. The safety rails that exist in other movies simply aren’t here. Elongated sequences of gore and violence are nauseating in their opening moments, and then they just … keep … going. It’s like one of those jokes that goes on for too long, stops being funny, and then goes on for just long enough again that you realize the dip in the comedy was just part of the plan, and the joke is that it’s gone on too long. Just with, you know, chainsaws instead of punchlines.

It’s the gore that will test most viewers, fascinating some and sickening others. No one can be blamed for not wanting what these scenes are selling: depictions of victims (some sympathetic and wholly innocent, some delightfully oafish) being transformed into piles of meat as slowly and meticulously as possible by a demonic serial killer taking chaotic delight in his own work. The violence is staggering on its own, and there are effects in this film that genuinely boggle the mind and test the senses. The biggest credit one can give the “Terrifier 3” effects team is that it’s frequently not at all clear how they’re pulling these sequences off. Even if one isn’t entertained by the movie’s violence — so over the top in its presentation but detailed enough to ask bile to defy gravity — it’s impossible to deny the sheer craft of it all. Many modern indie horror movies proudly lean on a limited CGI approach, but few reach such extreme levels of pure audacity and wonder. How did they do that? Seriously … how did they do that?

Leone’s direction — surprisingly stripped down, giving these acts of violence and their accompanying beats of surreal, handmade fantasy plenty of room to breathe — is disconcertingly assured. He lets his images, brutal and absurd, speak for themselves.

“Terrifier 3” sets out to offend, and its opening scenes alone serve as a beacon of warning. Turn back before it’s too late. Pearl clutchers will turn their necklaces to powder. Weak stomaches will be emptied. The average viewer will rightfully think the film takes things too far, too often, enamored with its own maliciousness.

But there’s something here. That just cannot be denied. There’s something to the utter depravity of Art the Clown that speaks to life in 2024, an age where we’re so numb to daily horrors that we shrug them off and keep our head down and just try to keep moving. He’s a slasher not for the excess of the ’80s, the decade that initially defined the genre, but a slasher for an era that’s seen it all and has grown accustomed to it. “The cruelty is the point” is a common explainer for modern acts of evil, and that’s the modus operandi for “Terrifier 3.” Here’s a movie whose villain enjoys himself too much, and invites us, with a twinkle in his twisted eye, to act as a participant in his chaos. If that feels uncomfortable, and like something you should avoid at all costs … Well, yes. But that’s also the queasy attraction, isn’t it?

I don’t know if I’m reading too much into “Terrifier 3,” and maybe Leone is a more simple-minded sicko without any grand motivations who just wants to craft killer gore that sends audiences stumbling out of the theater wondering if the simple act of watching his work will place them on a watchlist. I’m not sure. It doesn’t matter. This is a movie that sets out on its own dark mission, and accomplishes that mission with a skill that is undeniable. The fantasy-tinged nightmare of “Terrifier 3” is truly unlike anything else out there right now, and for jaded horror fans hoping to be jolted into feeling something, anything, about the slasher genre in an age where many filmmakers just repeat the greatest hits, this kind of a transgressive, gonzo audacity is a nasty cattle prod to good taste. And even if that’s not your thing, that’s healthy for the genre in the long run, right? Horror was never supposed to be nice.

How do you even rate a movie like this, a movie that defies ratings (or even traditional descriptors of entertainment all together)? Oh, let’s just go with a seven.

/Film Rating: 7 out of 10

“Terrifier 3” opens in theaters on October 11, 2024.