By ABBIE BERNSTEIN / Staff Writer

Posted: October 10th, 2024 / 10:09 PM

Rating: Not Rated
Stars: Lauren LaVera, David Howard Thornton, Elliott Fullam, Sarah Voigt, Samantha Scaffidi, Chris Jericho, Antonella Rose, Margaret Anne Florence, Bryce Johnson, Alexa Blair, Mason Mecartea, Krsy Fox, Clint Howard, Jon Abrahams, Daniel Roebuck, Jason Patric
Writer: Damien Leone
Director: Damien Leone
Distributor: Cineverse
Release Date: October 11, 2024

TERRIFIER 3 provides two-for-one holiday horror. Arriving just in time for Halloween, it’s actually set during Christmas.

Like its predecessors, 2016’s TERRIFIER and 2022’s TERRIFIER 2, TERRIFIER 3 is written and directed by Damien Leone. Actor David Howard Thornton is likewise back for his third round as Art the Clown, a sadistic, silent killer who loves slapstick (and slapping his knee, and sticking people with sharp objects).

TERRIFIER 3 has an opener set a few days before Christmas, when a little girl wakes up her parents at 3 AM because she hears someone on the roof. Spoiler: it’s not Santa.

We then flash back to five years earlier (although TERRIFIER 2 was released in 2022, in movie time, TERRIFIER 3’s present is half a decade later than that film).

Art and Victoria (Samantha Scaffidi), a woman who survived having her face torn off only to wind up giving birth to her attacker’s severed head (you read that correctly), find an abandoned house. Victoria slits her wrists in the bathtub.

In the present, a couple of demolition workers arrive at the ostensibly empty residence and accidentally wake up both its actual occupants.

Meanwhile, Sienna (Lauren LaVera), who triumphed over Art in TERRIFIER 2 by decapitating him, is being discharged from her most recent stay at a psychiatric facility.

Sienna is warmly welcomed into the home of her aunt Jessica (Margaret Anne Florence), uncle Greg (Bryce Johnson), and their young daughter Gabbie (Antonella Rose), who worships her older cousin.

But Sienna is still tormented by visions of dead friends and relatives, to the point where she sometimes can’t function.

Sienna’s younger brother Jonathan (Elliott Fullam) had his own awful experiences during TERRIFIER 2, but he’s suppressed them well enough to be able to attend college. Jonathan’s bro roommate Cole (Mason Mecartea) is dating podcaster Mia (Alexa Blair), who is obsessed with “the Miles County Massacre.”

We get more narrative, character, and mythology in TERRIFIER 3 than we had previously. A fair chunk of the finale of TERRIFIER 2 is clarified (although it seems like we’re never going to get an explanation of the dunk tank in Hell).

If the notions aren’t exactly new, they don’t need to be. The selling point here is the contrast between Art’s wackiness and his mind-blowing cruelty, along with Leone’s penchant for brightly-colored settings and production design that add an almost fairytale dimension to the action.

We get a bit of character development, including a scene with Daniel Roebuck as a professional Santa who momentarily tries to befriend Art. The sequence goes from amusing to poignant to appalling.

Leone also allows us to get a little more insight into the workings of the demonic rules here, as the possessed Victoria can speak. She’s disturbing-looking enough that the exposition she provides – along with vicious mockery – mostly works.

While TERRIFIER 3 is closer rhythm and structure to a more conventional slasher than its predecessors, prospective viewers should be aware that the gruesome ethos is the same. There is no rape, but there is onscreen mutilation of every body part belonging to either gender. The special effects makeup by Christien Tinsley and Tinsley Studio is as extreme as it can be.

The violence and sheer brutality here is for people who aren’t inherently bothered by movies like, for example, SAW and HOSTEL. Those were rated R; the TERRIFIER films are all unrated, as it’s hard to imagine them getting anything other than an NC-17.

Between them, Leone and Thornton are doing something unique here. It absolutely is not for everyone, but there is (pardon the pun) real art to it. Thornton brings forth not only the terrifying but also the authentically clownish aspects of Art.

TERRIFIER 3 does pretty much exactly what it sets out to do, as well as laying the groundwork for TERRIFIER 4.

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AMERICANS WITH NO ADDRESS: THE DOCUMENTARY is a well thought out, superbly executed, inspirational documentary that explores the homeless crisis in the United States. Despite increases in homelessness in recent years, government funding to reduce the number has increased by three times in the last 12 years. Clearly, government has failed to solve the problem. The filmmakers interviews dozens of people, including experts, government officials, homeless people, doctors, and charity workers. Many argue that government initiatives make the problem worse. The movie shows how nonprofit groups have banded together to fill the gap.

More than a million homeless people in the United States lack basic needs, self-worth, medical care, and a sense of community. Each person has inherent dignity, because every person is created in God’s image. The government may have failed, but private citizens have rallied to answer the call. AMERICANS WITH NO ADDRESS: THE DOCUMENTARY stands apart because it lays out the need, while also highlighting some solutions. However, the movie has plenty of disturbing content about crime, poverty, substance abuse, and mental illness. Strong caution is advised for pre-teenage children.

(CCC, BBB, V, AA, DD, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong Christian, biblical worldview in documentary about the issue of homelessness, with dozens of interviews of experts, government officials, homeless people, doctors, and charity workers, including many Christians;

Foul Language:

No foul language;

Violence:

Some discussion about violent crime, plus a brief scene from an upcoming movie where a man holds a knife against an elderly homeless man;

Sex:

No sex;

Nudity:

No nudity;

Alcohol Use:

Discussion about alcohol abuse and alcoholism, and the need for rehab and recovery;

Smoking and/or Drug Use and Abuse:

Discussion about drug abuse, overdoses and the drug epidemic and the need for better rehab and recovery programs; and,

Miscellaneous Immorality:

Some discussion about mental illness and its effect on homelessness.

AMERICANS WITH NO ADDRESS: THE DOCUMENTARY is a very well thought out, superbly executed, and inspirational documentary that explores the current homeless crisis in the United States. All political parties agree that the government has failed to solve the problem, and some argue that the government has made the problem much worse. This masterfully done documentary includes content with adult topics, such as drug use, violence, broken families, and crime. So, MOVIEGUIDE® advises extreme caution for children.

The movie explores the homelessness epidemic in 20 cities across 18 states in the United States. It interviews dozens of people about the subject, including experts, government officials, policemen, homeless people, doctors, and people working in nonprofit groups giving food and shelter to the homeless.

According to the United States government, homelessness rose 12% in 2023, to 653,104 people. Also, it’s been estimated that one third of the population knows a family member or a friend who became homeless in the last year. Homeless encampments that were once only associated with “Skid Row” in big cities are now seen everywhere. Yet, government spending on homelessness has tripled in the last 12 years.

The documentary says the homeless problem isn’t new. In fact, it’s been brewing since Congress passed the IMD Exclusion Act of 1965, which left the problem of homelessness to the states. This essentially means that the federal government will not offer assistance to any homeless persons between the ages of 21 and 65.

In 2013, the federal government began providing HUD housing to homeless persons without requiring treatment for substance addiction recovery and mental health illnesses. Experts agree this is a system set up to fail. To make matters worse, in the last several years, state governments have stepped in to provide clean needles, straws and other paraphernalia to assist homeless people in their substance abuse issues. Hospitals are only allowed to provide 15 beds to mental health patients, no matter the size of the hospital. Many people in need are turned away or end up in prison. The rate of incarceration has exploded in recent years. Moreover, the closure of most mental hospitals in the 1970s and 1980s only made the problem worse.

The system clearly is broken, the movie argues. In fact, the movie shows that many of the measures taken have been detrimental to those in need and is costing taxpayers even more money. For example, the city of San Francisco spends $257,000 per day to clean up homeless encampments. This doesn’t solve the problem, because the homeless population simply moves to another nearby location.

More than physical needs, scores of people are bereft of love, self-worth and a sense of community. Each person has inherent dignity as every person is created in the image and likeness of God.

The movie quotes Mother Teresa, a champion for the homeless, who once said, “We think that sometimes poverty is only being hungry, naked and homeless. The poverty of being unwanted, unloved and uncared for is the greatest poverty.” Then, movie also quotes the co-founder of the Salvation Army in 1865, Catherine Booth, who said, “You are not here in the world for yourself. You have been sent here for others. The world is waiting for you.” Amy Grant personalizes it best in the movie when she ponders, “What if I were that person? Because life can turn on a dime.”

The government has failed us, but private citizens have rallied to answer this call to care for our brothers and sisters who are “outcasts, lost and forgotten.” Some of these organizations across the country include Step Up, Haven For Hope, Community First! Village, the Salvation Army, St. Vincent De Paul, Harbor of Light, Helping Hands, and The Helping Up Mission, a collaboration between Johns Hopkins University and The Helping Up Mission. These programs are spread out across the country. All of them are successful, to one extent or another, the movie notes.

In the end, the movie’s best, most enlightening parts are the stories of the people involved in this issue, whether it be the homeless people themselves or the Christians and charity workers helping them.

Yung Filly, a British YouTuber turned rapper, has been charged with raping a woman in September after he performed at a nightclub in a Western Australia suburb.

The Government of Western Australia announced Thursday in a news release that a man had been taken into custody in Brisbane earlier this week and was extradited to Perth for a court hearing on sexual assault charges. The charges include four counts of rape, three counts of “assault occasioning bodily harm” and one count of impeding a person’s “normal breathing or circulation by applying pressure on, or to, their neck,” according to the statement.

A representative for the 29-year-old rapper, real name Andrés Felipe Valencia Barrientos, did not immediately respond to The Times’ request for comment. The Western Australia Police Force did not immediately respond to The Times’ request for additional information.

Yung Filly allegedly raped a woman in her 20s in his hotel room in Perth on Sept. 28 after he performed a show in Hillarys, the statement said. The “Grey” and “Tempted” musician performed at Hillary’s Bar1 Nightclub on Sept. 27, according to several posts on the club’s Instagram page. He stopped at Bar1 as part of his Australian tour, which also included shows in Melbourne, Sydney and Gold Coast.

Perth barrister Seamus Rafferty SC represented Yung Filly in Perth Magistrates Court and applied for bail on the rapper’s behalf, the BBC reported.

Yung Filly was born in Colombia but is based in southeast London. He started creating online content as a teenager but gained popularity for his “Asking Awkward Questions” YouTube series. Despite his YouTube fame, the social media personality told Hunger Magazine in 2022 that his passion was always music.

“I think you just hear the music and you can just tell I am so in love with it and I understand it to such a high degree that you can’t compare me to no one else,” he said.

Yung Filly boasts more than 1.8 million subscribers on YouTube and 3.2 million followers on Instagram. He has hosted BBC Three’s “Hot Property” series, among other projects, and appeared on Channel 4’s “Great Celebrity Bake Off” Stand Up to Cancer fundraiser special in 2022.

Yung Filly and social media star Chunkz won the media personality prize at the 2021 Mobo Awards.