Shocking! ‘Terrifier 3’ Bloodbath Wins Over Horror Fans & Dominates Weekend Box Office!

What is it that makes us seek out the artistic value in horror films? I’ve often found myself pondering this while engrossed in Dario Argento’s “Suspiria,” a masterful blend of colors, or while appreciating the chillingly precise compositions of John Carpenter. To endure the horror, I’ve learned to find the creator within the carnage: the subtle racial tensions, the social critiques in a zombie-infested mall, or the spine-tingling delivery of a Tobin Bell line. Recognizing the artist makes the gore more palatable. In the words of Hans Rookmaaker, horror doesn’t need to justify its existence, but it certainly doesn’t hurt when its creators strive for something more.

“Terrifier 3” is not a product of artists — not like a number of this year’s releases, such as “Longlegs,” “Strange Darling,” or “The Substance.” In fact, it turns the notion of art into a twisted punchline: The sinister clown antagonist of all three “Terrifier” films is aptly named Art. He’s a mute figure, his insidious grin reminiscent of a mime whose harmless pranks have long since darkened. (David Howard Thornton, under layers of makeup and prosthetics, does his best with the character.) Art the Clown terrorizes suburban families and prowls after young women, a sack of power tools always at hand. As the series takes a festive turn into its first Christmas-themed installment, everything falls into place.

It’s this very lack of artistic pretension that has made “Terrifier” a sensation. I experienced “Terrifier 3” in ideal circumstances: a packed theater on opening weekend. This low-budget film even outperformed the box office earnings of “Joker: Folie à Deux.” The audience wasn’t electrified so much as it was filled with anticipatory dread. Fear, suspense, terror — these aren’t the main course in these movies. Fans know what they’re in for: brutal amputations and grisly skin removal. Why limit the carnage to simple beheadings when you can bisect a body? “Terrifier 3” is released without a rating, a well-earned mark of distinction.

This silent agreement between the film and its bloodthirsty audience is largely established by Christien Tinsley, the makeup effects artist responsible for the film’s gruesome prosthetics. Tinsley, whose past projects include Mel Gibson’s brutal “The Passion of the Christ,” ensures that this film also features a crown of thorns (and a few perfectly placed crucifixion nails). There are numerous times when you’ll wish “Terrifier 3” would transition to a new scene, its message having been made abundantly clear. Unfortunately, this film revels in its grotesque injuries. Chainsaws find fresh targets, making it seem like Tinsley’s personal highlight reel. He’s likely to receive a surge in job offers soon.

Are you familiar with Sean S. Cunningham? If not, that’s okay. He was never as famous as some of his contemporaries. However, following the massive success of Carpenter’s “Halloween,” Cunningham assembled a low-budget team and directed 1980’s “Friday the 13th,” a film as iconic as any in the slasher genre.

Damien Leone, the 42-year-old director from Staten Island who helmed the “Terrifier” films, is likely to follow in Cunningham’s footsteps. He takes a straightforward, no-frills approach to his work. Unimaginatively, “Terrifier 3” features a generic final girl (Lauren LaVera), a mentally scarred assistant (Samantha Scaffidi), and an innocent victim in need of protection (Antonella Rose). These characters all serve to provide Art the Clown with memorable, bloody moments.

Leone does deserve credit in one area, though. He seems to understand that audiences are weary of subtle horror. They’re ready for a departure from the refined and the artistic. Sometimes, they just want a good old-fashioned scare.