As a film critic with decades of experience under my belt, I’ve seen it all – from the profound masterpieces of Fellini and Bergman to the B-movie gorefests that fill the late-night slots on cable TV. The Terrifier franchise falls squarely into the latter category, but that doesn’t make it any less enjoyable for its dedicated fanbase.
Since its debut in 2016, the Terrifier series has been acclaimed by horror enthusiasts for its gruesome violence and main villain, Art the Clown. This series serves as a welcome respite for fans longing for the immersive thrill and eerie allure that seems to be absent in today’s slasher films. Previously, many fans had expressed dissatisfaction with other productions due to their lack of intensity and the absence of the graphic violence that the Terrifier series fearlessly presents.
From one perspective, this horror series is commendable for its employment of practical effects and scenes of gore that have left some viewers deeply affected. Fans of the Terrifier series seem to relish violence and find pleasure in being startled. Beneath the graphic visuals and attempts to push boundaries, however, there’s not much depth. In essence, the Terrifier series provides little more than shock value and can be compared to the The Human Centipede films, which, despite their extreme violence and lack of restraint in depiction, continue to spawn sequels that aim to surpass their predecessors in terms of content.
A History of Artistic Transgression
Supporters of the Terrifier series may contend that it only requires shock value to thrive, dismissing any critical analysis as misguided. However, it’s crucial to consider that many art forms, including film, have a rich history of works lacking a clear moral compass yet still sparking thought-provoking discussions among audiences.
Two outstanding instances of this phenomenon predate the fabricated world of cinema and were created nearly a century after its invention, both originating from France. The Grand Guignol, a theater based in Paris during the late 1800s, skillfully combined humor and brutality in extravagant stage performances that, despite leaving audiences stunned, also offered a satirical perspective on contemporary issues and rooted their terrors in authenticity. In the early 2000s, during the highly esteemed French extremity film movement, the movie “Martyrs” – often dismissed by some as merely “torture porn,” a label that is actually a poor critique – was deeply disturbing at its core, yet it also reflected aspects of French national identity associated with martyrdom. Some scenes in this film even paid tribute to Carl Theodore Dreyer’s 1928 movie, “The Passion of Joan of Arc.
Although surprising by itself, the Terrifier series seems to share a common trap that the Human Centipede films stumbled into some time back. To clarify, the appeal of the first movie led to subsequent versions. However, when it comes to the improvements, the development in style deserves recognition, but beyond visual aesthetics, escalating violence to unprecedented levels is the significant achievement in the sequels that have been produced.
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, the Terrifier films 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 the offerings by Herschel Gordon Lewis, who always stressed entertaining his audiences over artistic merit or enlightenment.
the limited scope of today’s audience expectations in cinema.
Modern movies, especially those aimed at a broad audience, often provide a tidy resolution that is simple to grasp and allows viewers to escape the complexities of real life for a while. However, box office earnings don’t always reflect quality or merit. The “Terrifier” films have a dedicated fanbase who eagerly watch as Art brutally murders his victims. Once you’ve watched it, there’s not much else to do afterward. A problem arises when audiences become numb to the violence, leading future installments to appear overly shocking or bogged down by ordinary content.
The Ride is Limited but Understandably Enjoyable
So, where does the Terrifier film franchise fit in terms of critical acclaim? Is it deserving of scorn or admiration, or does it occupy a space somewhere in between? Given its unapologetic excess and delight in graphic gore and violence, it’s more of a product that appeals to a specific audience rather than a work of art. This is a perspective that could be shared by Lydia Lunch.
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 another Terrifier movie, 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. Stream Terrifier and Terrifier 2 on Prime Video.
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2024-10-21 23:31