October 2024
Terrifier 3
Cineverse // Directed by Damien Leone // Starring Lauren LaVera, David Howard Thornton, Elliott Fullam, Samantha Scaffidi, Jason Patric, Chris Jericho, Daniel Roebuck
We’ve all had two years to recover from 2022’s scalp-ripping, bleach-soaked gorefest that was Terrifier 2 (which, of course, followed 2016’s hacksawing, poop-smearing gorefest that was Terrifier) and, now, writer-director Damien Leone is back to deliver another shot of Art-fuelled chaos - except, this time, it’s a Christmas movie! Of sorts. Set five years after the events of the previous film, Terrifier 3 finds survivor Sienna Shaw (LaVera) struggling to move past the Miles County massacre that claimed the lives of her mother, her friends, and more, but she will need to fix up sharpish as Art the Clown has returned in true Palpatine style to continue his blood-soaked rampage against, well, everyone. I very much enjoyed Terrifier 2, and I am pleased to report that Terrifier 3 was a blast to behold, staying true to its DNA whilst introducing new elements to the story and lore. With a larger budget thanks to the unexpected success of Terrifier 2, Terrifier 3 goes bigger than its predecessor in some aspects, but in others, it remains consistent. It looks that bit more polished visually, and the insanely good practical effects look as good as ever here, but the story itself doesn’t explode into something that does not resemble what came before. This continuation of part two marries the tone of both Terrifier films to date, so we’re not seeing a A Nightmare on Elm Street style dive into the pop culture chasing mainstream just yet. The main aspect that gets bigger is the kills - or at least their volume. Terrifier 3 is packed full of nasty, brutal (and, yes, imaginative) kills that add to the franchise’s pantheon in ways that both repulse and also bring a strange smile to one’s face - that’s the effect of Art the Clown, I suppose. No spoilers here (but that shower scene?!), but the practical effects employed really bring these moments of terror to life in such a visceral way that it is no surprise that audiences cannot stomach it (multiple members of the UK Gala Screening I attended left with one report of vomiting). Set against a retro Christmas aesthetic, the gnarly chaos had an appealing visual style. Allowing cinema’s most sadistic clown the chance for festive kills was too good an opportunity to pass by, and no one is safe during the season of goodwill - not even Santa Claus himself…
Lauren LaVera continues her rise as one of horror’s great modern final girls with an assured performance that required more than just physicality as we witness her spiralling mental struggle throughout the film. However, when Sienna gets physical, she goes hard and she is afforded a superb ‘final girl sequence’ in the final act showdown. David Howard Thornton, too, cements his place in the annals of horror with a grandiose performance as horror’s newest icon - smiling, snarling, dancing, slashing, staring, and sawing his way through the film all in his signature silent manner. Now, the story itself expands but isn’t always filled in satisfactorily. All I will say is a few major moments happened off-screen, moments that felt integral to the narrative. Maybe we will see them in Terrifier 4, but their absence was noticeable in this cut. Similarly, lore elements were touched upon without receiving major development which, again, leaves Terrifier 4 with the potential problem of ticking a large amount of necessary boxes. That said, the story is decent enough and moves along at a brisk pace. Whilst its tone is heavy and glum, there are still plenty of moments for levity - whether intentional or not! Terrifier 3 delivers on everything you would hope and expect it to. Crammed full of outrageous - and excellently realized - kills, Damien Leone delivers a nasty, mean, but bloody fun experience that continues the rise of horror’s newest icon and a final girl for the ages.
Fear and Love: The Story of The Exorcist
Directed by John Larkin // Legacy of The Exorcist Productions
2024’s Fear and Love: The Story of the Exorcist is a new documentary from filmmaker John Larkin. Created over five years, it provides new insight into the picture’s arduous filmmaking process and personal memories from members of the cast, crew, press, and fans alike. Hot on the heels of the fiftieth anniversary of The Exorcist, the documentary had plenty of time to cover but also the task of providing fresh perspectives on a film that has received plenty of attention and documentation over the years. To accomplish this, Larkin sought out interviewees who had not previously appeared in other documentaries on the film, including Chuck Waters - the stuntman responsible for the film’s incredible final leap from Father Karras, Ron Faber who appeared as Chuck (the assistant director on the fictional film set within The Exorcist) and Eileen Dietz (though Dietz has discussed the film previously, she does so rarely). For me, these conversations provided some of the features most interesting moments as I was learning new information about a film I hold dearly, after all this time. Also, by doing this, Fear and Love allowed itself to stand apart from its predecessors such as The Fear of God and The Exorcist: Untold. Now, that said, Fear and Love still boasts the considerable presence of the legendary Ellen Burstyn, whose anecdotes are always a joy to listen to, as well as legendary makeup artist Rick Baker, horror veteran Daniel Roebuck, and William O’Malley who appeared in the film as Father Dyer. These, alongside the many other interviewees - whether in-person, audio, or archival - really band together to deliver a strong and intimate retrospective recollection of the film itself, and the memories they have of it - for better and worse. For instance, hearing Chris Newman, the Oscar-winning sound designer on the film, talk about his working processes and interactions with William Peter Blatty (the author of The Exorcist novel) to switching to his sadness regarding his falling out with director William Friedkin bestowed real personality and earnestness to the documentary. These feelings were carried through the feature in every interaction, and Larkin deserves much credit for capturing these interactions and the real emotions that the interviewees provided.
Within the sixty-one minute runtime - which is split into three chapters (The Father, The Son, and The Holy Spirit, no less) - Larkin steered the conversations from the making of the film to the contributions of iconic makeup artist Dick Smith, its cultural impact (including the wave of rip-offs post-1973), William Friedkin’s methods and so much more. I will never get tired of hearing about The Exorcist, but Fear and Love was able to provide fresh takes and new anecdotes that, thanks also to the strong editing, came together to create a wonderfully intimate and thoroughly enjoyable documentary covering the scariest, and greatest, film ever made.
Magpie
Shout! Studios // Directed by Sam Yates // Starring Daisy Ridley, Shazad Latif, Mathilda Anna Ingrid Lutz, Hiba Ahmed, Cherrelle Skeete, Alistair Petrie
Just in time for Autumn, Sam Yates delivers Magpie, his feature directorial debut, bringing a chilly mystery thriller designed to keep its audience guessing right until the end credits roll. The film follows Anette (Ridley), the long-suffering wife of struggling author Ben (Latif), as she struggles to traverse her life of solitude, motherhood, and a loveless marriage that is just coasting. When the couple’s young daughter Tilly (Ahmed) lands a coveted role in an upcoming film, Anette must also face the looming threat of Alicia (Lutz), the lead in the film and someone that Ben has taken more than a passing fancy in. Through its twists and turns, Magpie shines a light on modern relationships and the pitfalls that surround them, along with themes of sacrifice, obsession, betrayal, and revenge, and wraps its narrative with a solid Hitchcockian bow. Following strong performances in Sometimes I Think About Dying and Young Woman and the Sea, Daisy Ridley is once again a compelling lead in a role that requires more than its fair share of nuance. At times understated, at others passionate, Ridley again displays her burgeoning talents. Latif, too, is eminently watchable as Ben - though for different reasons - and he plays his role as an ignorant, arrogant, and self-centred creep really quite well without straying too far over the lines of authenticity. Though her role is more supporting, Lutz (so, so good in 2017’s Revenge) provides a solid third wheel in the crumbling marriage. The narrative is solid throughout and can best be described as a slow burn, however, specific moments within the story, more so towards the beginning, move rather quickly in order for the plot to happen. Despite this, Magpie remains compelling, thanks to Tom Bateman’s screenplay and also the brisk runtime, as we await to see what will become of our characters - Ben, who is drawn to finding new, shinier objects of desire to satiate him rather than to fix what is in front of him, and Anette, who seemingly suffers in silence whilst the world passes her by outside of the families frosty dwellings - and the intrigue continues right until the killer final shots (which can be best described as, “Good for her”). Though it may not reinvent the genre wheel, Magpie is a satisfying thriller that succeeds thanks to its strong performances and cracking finale.
Stream
Iconic Events // Directed by Michael Leavy // Starring Jeffrey Combs, Danielle Harris, Charles Edwin Powell, Tim Reid, Wesley Holloway, Sydney Malakeh, David Howard Thornton
From much of the team behind the Terrifier movies comes Stream, directed by Michael Leavy. The film centres on the Keenan family, whose plans for a peaceful vacation are disrupted by a group of sadistic killers who livestream their murders at the Pines Hotel, the seemingly idyllic destination where they are staying. Given the involvement of the Terrifier team—minus Damien Leone, who acts as a producer and provides makeup effects—one could expect a gory film. While Stream does include plenty of gore, it doesn't reach the extreme levels found in Terrifier - though it is clear that that is not the priority or intent here. Instead, Leavy leans more towards a lighter tone while still delivering a series of gruesome kills supported by solid practical effects.
The Keenan family is a diverse group, and the film spends a good amount of time early on introducing them and highlighting their personalities and attitudes. While this character development is a welcome narrative choice, it doesn’t feel as engaging as the horror that unfolds once the hotel is locked down. Danielle Harris and Sydney Malakeh deliver solid performances, but Jeffrey Combs steals the show with a delightfully exaggerated portrayal that truly captures the menace of his character. Alongside him are a variety of masked killers (including David Howard Thornton), each with a few distinguishing traits—such as bodybuilder, dancer, and mime—who are primarily there to create chaos and try to win money for the live stream audience through their actions, however, though their designs are visually striking, they lack a significant fear factor. It's also worth mentioning the numerous cameos sprinkled throughout the film from Dee Wallace, Felissa Rose, Danny Roebuck, Tony Todd, and Tim Curry, who makes a rare late appearance, and, Curry and Todd aside, the horror veterans are afforded an entertaining sequence together that I'm quite confident they all enjoyed being a part of.
While Stream aims for a claustrophobic horror atmosphere, it doesn’t always succeed, partly due to the hotel’s somewhat dull interior and a lack of emotional connection with the family. Nonetheless, there are enough engaging moments to keep viewers entertained - the film manages to include fun elements that often seem missing from modern horror, which can sometimes prioritize shock value over enjoyment. With its intriguing premise and the potential for numerous sequel directions, it wouldn’t be surprising to see more films in the Stream franchise, and I would happily welcome more instalments if they can maintain the same level of fun as this one.
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