The TerrorMolins festival is presenting “Terrifier 2” at the TerrorMolins festival in Spain and everything stated about it is real. It’s one of the most enjoyable horror films of the year. It is a trip through the woods with no plot or budget is more important than the explosive nature of gore as well as the manner the action is carried out and the explosive climax of gore and blood. The splatstick screams of comedy.
The principal protagonist, Art the Clown, has gained a lot of attention throughout the years in various networks since his debut on the film anthology ‘All Hollows Eve’ (2014) to the extremely low-budget film “Terrifier” (2016) However, it’s with this sequel that it’s that it is finally at the height of its popularity, and shedding more blood than any other slasher to hit the large screen in recent times. The primary reason for the success of the word-of mouth campaign isn’t widely known, but can be attributed to the personality of the clown or due to the over-use of serious horror films.
The feat of achieving the net of 10million dollars seems an impressive feat even for a movie with an estimated budget of just 250,000. The film is a return to that Grindhouse spirit that goes far beyond the violence and adds the surreal and almost insane performance by David Howard Thornton. It was similar in the first movie and Director Damien Leone has tried to break the red line by releasing an update that broadens the realm of the clown, and doubling the sly humor of his character to blend it into a cast where you can see names like Michael Myers, Jason Voorhees and Freddie Krueger.
The film begins one year after the initial massacre, and depicts a family of a widowed woman Barbara (Sarah Voigt) as well as their teenage daughter Sienna (Lauren LaVera) and son, twelve years old Jonathan (Elliott Fullam). In the meantime, Art has an unexpected new companionin the form of the ghost of a dead girl. The way the clown enters his world isn’t particularly significant, but it does provide an excuse to impose two and two-and-a-half hours of destruction during an evening of Halloween that the ‘Halloween Ends’ show couldn’t even manage. Sound.
A surprise into those who are accustomed to Sundance terror?
The primary difference between this and the previous film is that, even though it appears rather cheap and grungy the film doesn’t have an obvious digital appearance as well as, along with the exploitation-style cinema filters and textures there’s a great use of grainy color and color. The result is that the amateur element into a sort of continuation of cult film films that have always held their place on fan shelves. This already sets it apart from the sophisticated and nuanced direction of the current drama-filled horror films such as “Relic” or “Nanny”.
This is why we can find a part of the genesis of this phenomenon. It is by observing a particular response from those who be satisfied with the greater attention to detail of the genre’s new proposals however, they are unable to appreciate a films that are not acculturated to the recognizable patterns and forms that could reduce the subversive force that horror films have always held. In exchange for a low production value”Terrifier 2″ gives the sense of shamelessness which allows not being a target for studio executives who want to dial it back.
This is because gore is clearly the main character. Leone is conductor of special effects orchestras creating twisted, gruesome deaths using various ways of massacring sick bodies. We’re witnessing what happens when you have the full power to scream bodies in horror, violence and even torture. The bodies and faces are slashed and mutilated, then desecrated with various methods and then reduced to a bloody paper. People are shot to death as body part are cut off or cut off using different weapons. The film features an extremely violent and terrifying nightmare sequence, as well as many more.
gore as a form of language
There’s a bit of heritage from the stage of torture in the 2000s, however it’s morphed into something heavier, with more similarities to 1990s made-for-video film titles like ‘The Ice cream Vendor’ (1995) or the Brian Yuzna’s odysseys of the dental as opposed to the ‘Saw’ series.. There’s a certain aspect that is a part of Grand Guignol art, of being able to see how it works and overcoming barriers, which makes the experience almost an endless performance infused with the naive ethos from Herschell Gordon Lewis.
