TERRIFIER 3. The Killer Clown’s Smile [REVIEW]

Art the Clown is a character that has been exploited for 16 years, ever since his appearance in the 11-minute short film “The 9th Circle” (2008). Damien Leone—apparently not one for varied plotlines—has specialized in developing a single theme, consistently expanding the world around this clown from the lowest circle of Hell. “Terrifier 2” not only achieved massive commercial success but also received numerous positive reviews from critics. Thus, the time was right to strike while the iron was hot! And now, the killer clown returns to cinemas in “Terrifier 3”, once again portrayed by David Howard Thornton.

This time, the action takes place during Christmas. In the opening sequence, a girl waiting for Santa Claus receives an unexpected present. Dressed as Santa, the killer clown (David Howard Thornton) sneaks into her house with an axe and massacres her family. It’s a strong start, designed to prepare viewers for the type of film they’re about to watch. Soon, other characters from previous installments return as well—Victoria Heyes (Samantha Scaffidi), the victim from the first film, who now serves as the secondary antagonist, and the siblings Sienna Shaw (Lauren LaVera) and her younger brother Jonathan (Elliott Fullam), who survived the massacre in the second film.

The screening of “Terrifier 3” is primarily an ideal proposition for fans of horror films that feature gallons of blood and increasingly grotesque torture scenes. Art the Clown’s name is no coincidence—his murders are designed to have an artistic flair, leaving his signature style on each one. In this world, death seems like a relief, but that’s just an illusion, as the existence of the ninth circle of Hell means the torment never ends. There seems to be no end in sight for the series either—it’s already confirmed that “Terrifier 4” is in pre-production, given the promising box-office predictions for the third film.

One undeniable advantage of the series is the expanded circus world, where Art the Clown is the star, likely working for the devil himself. With each film’s increasing budget, the rawness and minimalism that were so beloved by B-movie fans and present in the first part have given way to a visual spectacle. This drive for something bigger and better that outdoes its predecessor aligns well with the clown character, someone inherently absurd and prone to exaggeration. The larger budget has also revealed Damien Leone’s growth as a director. In the earlier films, he handled the special effects and makeup alongside production manager Phil Falcone, but in the third film, he received support from professional prosthetic makeup studios. This allowed Leone to focus more on the script and working with actors, as two specialized teams took care of the special effects. The first team, led by Jason Baker of Callosum FX Studio, included the legendary Tom Savini as a consultant (Savini even made a cameo in the film). The second team included Heather Albert and Ryan Keith Ward from Tinsley Studio, founded by Christien Tinsley (who worked on “The Passion of the Christ” [2004]).

The makeup artists had plenty of opportunities to showcase their talents, as Art the Clown’s unpredictability in choosing torture methods and tools keeps the audience guessing. He uses axes, hammers, chainsaws, firearms, liquid nitrogen guns, and even explosives, which required a pyrotechnics expert. His victims can be anyone—men, women, children, annoying or unsympathetic people, and even the most innocent individuals. The clown has no particular preference for his murder rituals’ locations—it could be a bedroom, a bathroom, or a shopping mall. Up until now, he had been as consistent as Michael Myers, attacking during Halloween, but in this new installment, he plays the role of a twisted Grinch, ruining the beloved holiday spirit for children. What’s more important, though, is that introducing the Christmas setting makes sense and is justified in the plot, which follows a biblical thread. Sienna Shaw isn’t just a typical slasher “final girl” but also an angel from God’s army—the only one capable of defeating the most vicious of demons.

The film’s growth trend is evident in the actors as well. Lauren LaVera, who plays Sienna, has more to do in this film than in the previous one, as she tackles the theme of coping with trauma, which she convincingly portrays. Her on-screen chemistry with her cousin Gabbie (played by 12-year-old Antonella Rose) is particularly well-written and works much better than her relationship with her brother Jonathan. The antagonists also don’t disappoint—Vicky and Art (Samantha Scaffidi and David Howard Thornton). Scaffidi had a more challenging role due to the complex makeup that restricted her movement and acting, while Art the Clown seems tireless in his role, having fun with it and entertaining the audience. This playful aspect is most evident in a scene featuring two masters of the supporting cast, Daniel Roebuck as Santa Claus and Clint Howard (Ron H.’s brother) as his drinking buddy.

As many films demonstrate, excessive violence and pushing the boundaries of cinematic extremity often lead to grotesque absurdity rather than heightened fear. This threequel is no exception, but the grotesqueness is fully intentional and controlled. Violence itself is absurd, and the “Terrifier” series emphasizes this with the increasing presence of supernatural forces and higher levels of disgusting imagery. What’s worth noting, and something rare today, is the dominance of practical effects in the style of the 1970s and 80s, as pioneered by Tom Savini. If anyone is still sticking around this circus, it’s primarily to get closer to the ninth circle of Hell, where nothing is sacred anymore.