Movies

There’s an audaciousness in “Terrifier 2”—not simply the audacity to exist, but to linger, to stretch and claw at the very possibility of what a midnight slasher can become in 2022. Damien Leone, with the calm lunacy of a late-shift carnie, yanks his beloved Art the Clown (David Howard Thornton, a leering demon mime who must dream in Bosch triptychs) back out of cult infamy and puts him center stage, handing him the keys to the slasher kingdom and daring anyone in the peanut gallery to flinch.

There is, let’s be honest, a certain adolescent joy in being bad for the sheer, unlaundered thrill of it—a kind of cackling, slippery impudence most modern horror movies outgrow in favor of handwringing, pious detours into “trauma,” and a double-locked justification for every sharp object. Watching Terrifier is like giving a chainsaw to the class clown and seeing how many teachers he can send packing: it doesn’t care about lessons, or roots, or the sob story behind the mask. It’s a daft, dangerous revel stripping horror down to the giggle you stifle when you know you shouldn’t laugh, but can’t help yourself.

Of all the things I expected to find myself enjoying in a post-ironic movie landscape half-worshipful of VHS gutters and half-terrified of sincerity, a pint-sized Canadian freakspawn like Frankie Freako was nowhere near the top of my predictions. I’m someone whose tastes, I’ll admit, veer toward the clean lines and careful sounds of other genres entirely—so much so that I’d usually spot a grimy puppet and run screaming for Bergman. But here I am, confessing it outright: Steven Kostanski’s affectionate, anarchic ode to '80s sleazoid creature shams, Frankie Freako, had me grinning, as if I’d found a rubber monster in my lunchbox and decided what the hell, I’d eat it.