I watched the creepiest movie of the year, “Terrifying 3.” Is it worth going to the cinema to see this?

Today, the sequel to one of the most disgusting horror films of recent times, “Horrifying 3,” was released in Russia.

The first installment of the franchise, released back in 2006, was a low-budget experiment in the slasher genre that introduced audiences to Artom the Clown, a silent and monstrously inventive clown. The film was reminiscent of the horror of the 80s, when a love of practical special effects and terrifying but realistic bloody scenes was cultivated.

In the second part, the budget became larger, the plot became more meaningful, and the murder scenes became longer and more sophisticated. This piece drew even more attention to its bloody consequences, which created such a violent state among the audience that cases of fainting and walking out of the audience were recorded at some screenings.

We have already managed to go to the third part, to test our own nerves and stomachs. Spoiler: not everyone can withstand what we see.

Brief description

• This dummy will never become a legend
  The plot is missing here as a class
  Meat grinder instead of meaning
  Not everyone can handle this movie.

◦ Back to contents ◬

This dummy will never become a legend

What is the film about?: The story begins five years after the events of Terror 3. The main character of the film leaves a psychiatric clinic, goes to her family and plans to celebrate Christmas. And here the crazy clown appears again.

To understand why Art the Clown just can’t rank with the classic villains of the genre, it’s worth remembering the great 70s, 80s and 90s, when almost every horror film created a cult villain.

In the 70s, the world saw Michael Myers and Leatherface – cold, silent killers with blood-chilling cruelty. The 80s added colorful images of Freddy Krueger, Jason Voorhees and Chucky, each of whom found their own way to shock the spectacle. The 2000s gave us the mysterious designer Peel with some cool plot twists.

These antagonists were more than just killing machines—each character had charisma, personality, and motivations that made us fear and love them at the same time.

What do we have here? A mute clown with smudged makeup who all he can do is fill the screen with blood.

Apparently, the director decided that the key to Artoo’s success was to shed blood like a river. After all, if the plot doesn’t work, why bother? We film the incident ten minutes longer, add more red to the Christmas decorations, and voila, our iconic maniac is ready. But Art is still far from matching Freddy’s charisma or Jigsaw’s ingenuity.

◦ Back to contents ◬

The plot is missing here as a class

The main problem with Terrifying 3 remains the lack of a coherent plot. When no one dies, the film begins to drag on endlessly with pointless talk about Sienna’s past, flashbacks, and dubious attempts to add psychological depth to the film.

Certain scenes, such as those with Gabby’s aunt, uncle, and cousin, could have conveyed meaning or emotional connection to the characters, but were left half-baked, only holding up the time leading up to these violent scenes.

Writer/director Damien Leone really added new details to Art’s backstory and even tried to freshen up the franchise by moving from the usual introduction to Christmas. I would understand that such a transition should add an element of celebration and joy, but instead the creators simply dressed Art in a Santa suit and put up a Christmas tree – there was no increase in originality, but the sense of absurdity grew.

◦ Back to contents ◬

Meat grinder instead of meaning

Terrifying 3 is the perfect film for those who come to the cinema for the murder scenes without expecting anything more meaningful. At some point you just realize that the film has turned into a carnivorous spectacle without an ounce of meaning.

Leone continues to stage a bloody extravaganza on the main stage, where the main role is played not by people at all, but by unexpected special effects and their team. Thanks to the increased budget, the visual effects really look powerful: blood flows like a river, and bodies fly in different directions. Barbarism is for barbarism.

Instead of traditional bloody reprisals, the authors use slow, almost meditative cruelty. The camera closes as Art breaks bones or exposes his inner wings. In some ways this is reminiscent of the trap scenes in Saw, but there the initially configured system cannot speed up the killing process, but here the character deliberately prolongs the pleasure of the action.

Those who are nostalgic for the 80s and 90s, when special effects were done by hand, without computer graphics, fall to their liking. The franchise brings us back to the days when the shot was real, without computer tricks. The practical naturalism here is at the highest level: dark, special effects and scenery create the impression as if the film was actually shot in the genre of the golden years, where the effect of realism was placed above the comfort of the viewer.

Damien Leone, himself a master of special effects, has created a franchise in which every frame is imbued with a passion for his craft. This is really “high art» horror, where every cut, blow and stream of blood is simulated in vivid detail.

For the serious horror student, “Terrifying 3” is a practical effects workshop of sorts.

But other than that, this is, of course, vicious, meaningless trash.

◦ Back to contents ◬

Not everyone can handle this movie.

Terror 3 is more than just a horror movie, a creepy, closed-door journey into a world of ultra-violence that’s visually arresting but downright painful. The film doesn’t spare itself, and some of the scenes, shot in such detail, can absolutely cause physical discomfort even for seasoned horror fans.

If you are fascinated by the idea of ​​another part where a maniacal villain divides people with particular cruelty, go to the cinema.

But if you want something more from a film – memorable characters, an intriguing plot, or at least a couple of unexpected moments, it is better to choose a classic of the genre.