First appearing in 2016 and the latest installment hitting theaters this year, theTerrifierfranchise has been a success among horror fans with its scenes of unrelenting violence and chief antagonist, Art the Clown. The series is a saving grace for many fans who have been craving the type of escapism and macabre awe that seems to have been missing from the slasher genre. Up until recently, many fans voiced their discontent regarding many offerings that are tame in comparison and lack the operatic levels of violence that theTerrifierfranchise is so unapologetic in depicting.
On the one hand, the series deserves praise for its use of practical effects and carnage that have reportedly traumatized some members of the viewing audience. TheTerrifierfranchise has found a fan base who crave violence and enjoy the feeling of being shocked. Beyond this surface level of visceral imagery and attempted transgression, there exists little else. In fact, theTerrifierfranchise offers nothing more than shock value and joins the ranks ofThe Human Centipedefilms as something that, while shocking and unrestrained in its stark depiction of violence, has a need to have sequels that compulsively attempt to outdo the previous installments regarding content.
A History of Artistic Transgression
Fans of the series will certainly argue thattheTerrifierfranchisedoesn’t need to possess anything more than shock and that any analytical criticism that attempts to address this topic is missing the pointof what’s made the franchise such a success at the box office. One of the points that needs to be addressed is this. The history of film and other forms of artistic expression is full of vehicles that have lacked a moral compass and have shocked audiences yet also possessed aspects that invited critical thought and discussion.
Two excellent examples of this existed before the manufactured reality of celluloid and almost a full century after its development, both emanating from France. The Grand Guignol, a theater operating in Paris in the late 19th century, seamlessly merged comedy and violence in grandiose stage productions that, while shocking audiences, also provided a satirical look at current events and grounded their horrors in reality. During the widely-acclaimed French extremity movement of the early 2000s,Martyrs, a film sometimes dismissed by some as “torture porn,” a term that itself is inept criticism, was shocking to its core, yet also touched upon the French national identity found in martyrdom, with some scenes paying homage to Carl Theodore Dreyer’s 1928 film,The Passion of Joan of Arc.
While shocking in its own right, theTerrifierfranchise has essentially fallen into the same pitfall that theHuman Centipedefilms fell intoseveral years ago. That is to say, the success of the original called for future installments. There is a development in stylistic approach, which deserves to be praised, butapart from presentation, ramping up the violence to new heights is the only notable accolade in the sequels that have followed.
Terrifier 2 Becomes A Chart-Topping Hit on Streaming After Damien Leone’s Threequel Success
The success of Terrifier 3 has led to a surge of interest in Terrifier 2, which topped Freevee’s movie chart.
Toxicity Among a Fan Base and The Dichotomy of Entertainment and Art (No Pun Intended)
It’s true that not every film needs to have a deep-rooted socio-political commentary on current events or needs to be on par with directors such as Federico Fellini, R.W. Fassbinder, Ingmar Bergman, or Pier Paolo Pasolini. When it comes to a means of escapism and a carnival ride of excess, theTerrifierfilms are certainly in the latter of these categories and not in the former. In fact, the franchise could be seen as something that exists in the same league as theofferings by Herschel Gordon Lewis, who always stressed entertaining his audiences over artistic merit or enlightenment.
Audiences who flock to see Art the Clown dispatch victims in grandiose ways and, by means that are extraordinary, to say the least, are there for a thrill ride comparable to a roller coaster or carnival sideshow. There’s certainly nothing intrinsically wrong with this; films should find a way to be entertaining, enlightening, or stimulating. Beyond that, there’s little else to be found.TheTerrifierfranchise, in effect, is symptomatic of a larger issue, which exists within the limited expectations of the modern audience.
Many modern films, particularly those that are marketed to many mainstream audiences, tend to wrap up everything in a convenient package that’s easily digestible, simple to understand, and allows one to break away from reality for two hours and forget about the torrid state of world affairs or the stresses that accompany the work day. Box office receipts have never been a barometer of quality and merit. TheTerrifierfilms have their core audience that will always show up to witness the many creative ways in which Art will dismember and annihilate the victims he’s granted access to.Once you’ve seen it, there’s not much else to do afterward. A noticeable problem exists in audiences becoming desensitized, making future installments seem like they’re attempting too hard to shock or hindered by mundane content.
The Fate of the Terrifier Franchise Confirmed by Director Damien Leone
Are you ready for more horror with Art the Clown?
The Ride is Limited but Understandably Enjoyable
Where does that leave theTerrifierfilms?Should they be panned or praised, or is there a middle ground in which they exist?The franchise is unrepentant in its excess and unapologetic regarding the levels of unadulterated gore and violence in which it revels. To fans of the series, this is entertainment that’s enjoyed but also more or less becomes a mass-produced consumer good meant for wide consumption among a selected demographic. A candid observation that can be made about theTerrifierseries as a whole is thatit takes the form of commerce rather than art, as Lydia Lunch might have put it.
The need for a means to escape will always exist, and the appetite for violence that many horror fans crave is always evolving. Still, when all is said and done, and the end credits roll on anotherTerrifiermovie, there’s nothing to justify praise regarding artistic merit, nor is there anything that can be found beyond presentation that warrants celebration. Much like the savagery of the gladiatorial fights in the Colosseum in Ancient Rome, there are but two probable outcomes. Caesar will arrive at a thumbs up or a thumbs down.StreamTerrifierandTerrifier 2on Prime Video.
