Grisly, taut and seasonally atmospheric, ‘Terrifier,’ released in 2016, aims to pay homage to the inexpensive slasher flicks of the 1980s, relishing in the same simplistic approach and over-the-top gore that classic horrors like ‘Friday the 13th’ and ‘Blood Harvest’ specialised in. And while the film does admittedly fall prey to many of the usual limitations low-budget horrors tend to have, ‘Terrifier’ is preserved through a genuinely terrifying performance from David Howard Thornton as ‘Art the Clown,’ in addition to plenty of fantastically gruesome effects and a willingness from writer-director Damien Leone (All Hallows’ Eve, Frankenstein vs. The Mummy) to push on-screen violence to its limit.
Plot Summary: On Halloween night, ‘Tara Heyes’ and her best friend: ‘Dawn,’ find themselves in the wrong place at the wrong time as they become the unfortunate targets of: ‘Art the Clown,’ a demented serial killer with a morbid sense of humour…
With coulrophobia (the name given to the fear of clowns) being one of the most common phobias in the world, it makes sense that the horror genre would try to capitalise on this widespread fear of individuals with white face paint and oversized shoes. And if there’s one area ‘Terrifier’ more than thrives in, it’s fully realising this common phobia, as ‘Art the Clown’ is consistently frightening, as the film jumps from moments of complete silence as ‘Art’ stares down his victims, to violent murders where the sadistic clown’s black and white costume is showered with blood. ‘Terrifier’ isn’t actually ‘Art the Clown’s first appearance though, as Damien Leone first introduced the character in his second short film, which not only shared the ‘Terrifier’ title, but is essentially the same story just condensed into a brief twenty-minute runtime.
Even though the conceited: ‘Dawn,’ somewhat sensible: ‘Tara,’ and loyal sister: ‘Victoria Heyes,’ portrayed by Catherine Corcoran, Jenna Kanell and Samantha Scaffidi, respectively, all serve an important purpose within the narrative. The characters themselves never attain anything beyond being generic slasher victims, and although each of the actress’ screams of terror sound as suitably realistic as a director could hope for, the delivery of some lines (particularly from the supporting cast) can feel clunky. But the true star of the film is undoubtedly David Howard Thornton as ‘Art the Clown,’ as Thornton stays in character ceaselessly as the psychotic murderer, portraying ‘Art’ as a fun-loving mime whose killings involve a combination of predatory sadism and joyful glee. So much so, that ‘Art’ will make many viewers nervous purely due to his unpredictability, as the character’s manic actions make it almost impossible to predict what he’ll do next.
On a technical level, ‘Terrifier’ is top-notch considering its thin budget, as whilst the cinematography by George Steuber is far from groundbreaking, the film has a reasonable amount of creative shots, the majority of which are enhanced by the film’s highly saturated colour palette, thin layer of granularity, and scenes lit primarily by natural light, truly giving the film a low-budget ’80s appeal. And, as mentioned previously, ‘Terrifier’ does not hold back when it comes to brutality and depravity, certifying the film as one, not for the faint of heart, as the gore effects are gut-churning and grotesque with the amount of work and detail that has gone into each effect being more than deserving of applause, especially when once again acknowledging the film’s budget, which is estimated to have been around £73,000.
The original score by Paul Wiley is a triumphant blend of 2010 and 1980s horror scores, with tracks such as: ‘In Pieces’ and ‘Clown Car’ being daunting and metallic-sounding similar to many modern horror scores, whereas tracks like ‘Kill Horn’ and the film’s main theme, simply titled: ‘Terrifier Theme,’ are reminiscent of the original: ‘Halloween’ score in more ways than one, which by no means a poor comparison when it comes to unnerving soundtracks.
These connections to past genre films continue further into the film’s visuals, as director Damien Leone inserts many explicit nods and visual tributes to everything from ‘Psycho’ to ‘Hostel’ to everything in-between. And whilst some may not like when a film relies so heavily on pastiche, it never feels overdone in ‘Terrifier,’ as the film strikes a satisfying balance between throwbacks and unique ideas, occasionally playing with the conventions of slashers by adding some twists to the killer and final girl dynamic, which will most definitely catch some viewers off-guard.
In short, ‘Terrifier’ has plenty of entertainment value should you fit into the film’s principal audience, as this modern slasher is an unabashed reminder of the bloodthirsty horror films that populated the 1980s, a.k.a. the kind of nasty flicks that were banned during the video-nasty era. The film has its issue, undeniably, most notably with its shortage of interesting characters and often oversimplified story. But ‘Terrifier’ does make the most of its foreboding atmosphere and unsettling killer, and it quickly becomes clear while watching the film that Damien Leone wants ‘Art the Clown’ to join the ranks of: ‘Jason Voorhees’ and ‘Michael Myers’ as a horror icon in the near future, which I think is more than feasible depending on how the horror community perceive the film as a whole. Final Rating: high 6/10.