Art’s mimelike movements oscillate between the stillness of a waxwork and sudden, disturbing moments of agility. The franchise’s primary focus is gore, and lots of it–– and the movie’s great at it! Terrifier delivers impeccable, creative carnage in large quantities on a tiny budget, and its villain is memorably, well, terrifying. Terrifier 2, like its predecessor, plays with these themes the same way Art plays with his victim’s bodies–– with enthusiasm, only to drop them when something more interesting comes along.
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There are also gestures towards investigations of all the old Freudian pathologies–– absent parents for example (Art strikes up a perverse infantile bond with a maternal figure who lacks a child), or queerness (he later dons the skin of this woman’s chest as well as her hair and parades around in an unnecessary allusion to Buffalo Bill of The Silence of the Lambs–– yikes, but I digress). These ideas come together when in an early scene one of Art’s soon-to-be-victims, Dawn ( Catherine Corcoran), mockingly forces him to pose for a selfie with her–– which he eventually replicates using her phone and her dismembered body, smile still firmly in place. Art the Clown ( David Howard Thornton), the mass murderer in question, serves as a locus for these anxieties with his unsettlingly ravenous, frozen grimace that draws attention and derision in equal measure. Some of its fascinations include our culture’s inured relationship to violence, beauty and our desperate desire for it in the social media age, ugliness and our perverse attraction to it. The first Terrifier (2016, the year of creepy clowns), a micro-budget slasher in the style of Rob Zombie by director Damien Leone, is, in some ways, full of ideas. While Terrifier 2 lacks some of the tension of the original, in part because of its strangely languorous pacing, this long, surreal sequel makes up for it with scene after scene of showstopping gore. Art, the silent killer clown with the rictus smile and the trash bag full of rusty tools, is back.
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