Gore, and horror, prohibited for children under 16
The film that made the whole of America vomit in fear is coming to France. The Titanium, Boop and others Clown and Joker can almost go get dressed. Here, we are downright afraid and we show it loud and clear. Some will come out of the cinema, others will scream in terror, hence this well-found title which does not mislead on the goods because you will get your money’s worth, which is not luxury given the price of a place of cinema nowadays… Especially since the director does not let you go for a single minute and you are caught in an infernal whirlwind with great effects even if the actors, and especially the actresses, are not really very great actors. As for the screenplay, it is hackneyed, not to say a little feeble: one Halloween night as if by chance, a grotesque and terrifying evil clown prowls around while brother and sister have to go out dancing in somewhat morbid disguises. To those who are worried, let them be reassured: it is not necessary to have seen Terrify 1 to understand the 2. It’s gore and then there you go. The spectators who will rush to see it know of course that the film is prohibited for those under 16 and that you have to have a strong heart to withstand certain passages. You will never have been warned enough.
A terrifying array
Well after all these probably not useless precautions, what is it? This second opus begins where the first left off: Art the Clown, lying on a medical examiner’s table, resurrected in brutal fashion, ready to terrorize the small town of Miles County again. It’s sometimes close to the bric-a-brac of the panoply of gore and horror genre Frankenstein, Dracula, madness, terror, psychopathy, a whole explosive and uninhibited mix, without forgetting of course the Grand Guignol, very fashionable at the end of the 19th and beginning of the 20th centuries in Paris in particular. This evil clown is very ugly, he must be scary and the director asked his make-up artists and costume designers to draw inspiration from the impressive paintings of James Ensor, this Belgian painter born in Ostend in Belgium in 1860 and who knew how to create disturbing and morbid characters of clowns and pierrots, a bit like the Mexican tradition of the cult of the dead which inspired the mercantile fair of our modern Halloween, now a somewhat degenerate and ridiculous American tradition. It is nevertheless in the spotlight throughout the film because the screenwriter and director, Damien Leone, undoubtedly thought that this feast of the dead would serve perfectly as a setting for such a debauchery of blood and assassinations.
Prepare for the worst
The somewhat winded scenario as we have just said is only useful for preparing the various appearances of the horrible Art and an enigmatic diabolical little girl, dressed up as a Chucky-style clown. “A character symbolizes this problem well: it is the little girl also made up as a clown, whom only Art, Sienna and her younger brother can see and who appears randomly, writes Marc Poquet in avoir-aLire.com. If the character is in itself quite terrifying (nice job of makeup), one wonders what his justification is and, until the end, the viewer will not really understand why he is there. It’s reassuring, so don’t worry about it. The story is very simple: a mother alone because a widow hides the secret of her husband’s death and lives with her young son and her slightly older daughter. They are all excited about preparing for Halloween without realizing that they are going to be the main victims. Timed and prepared, the arrivals of the bad guys lead to carnage gore high quality and truly appalling. It must be said in passing that it is often very successful and not only on the technical level: the fitting of Art the Clown’s glasses in the pranks and tricks store and the final sequence which takes place in a labyrinth of horrors of he funfair are highlights of a film that a James Ensor or even a Dario Argento would not deny.