Tag Archives: Coulrophobia

Killers Klowns from Outer Space a Cotton-Candy Cult Horror Classic

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Years before the ‘Killer Clown‘ moral panic from Fall 2016 and Twisty the Clown from Season 4 of American Horror Story, there was Killer Klowns from Outer Space. Author Stephen King popularized the ‘evil clown’ in mainstream circles with Pennywise from his novel, It. Of course the idea of killer clowns has a long history going back as far as the Italian opera, Pagliacci. Real-life serial killer John Wayne Gacy performed at children’s birthdays dressed as a clown. There’s even an official term for fear of clowns – coulrophobia. Written and directed by the Chiodo Brothers, Killer Klowns didn’t make so much as a ripple upon its release. But in the years since its release, it has attracted a significant cult following. A ridiculous mix of science fiction, horror, and comedy, Killer Klowns from Outer Space perfectly embodies the B-movie feel of the drive-in era from year earlier.

Killer Klowns from Outer Space A Fun Homage to 1950’s B-Movies

Clearly, Killer Klowns from Outer Space is a tongue-in-cheek homage to the sci-fi/horror classics from the 1950’s. And it’s very tongue-in-cheek. Just the premise itself riffs on some of the era’s more silly concepts, like The Blob, that took themselves much more seriously. Its very basic narrative mirrors these old black-and-white drive-in films closely. Local teenagers Mike and Debbie, parked at lover’s lane, see a glowing object crash off somewhere in the near distance. Subsequently, they discover a giant circus tent that’s hiding Klown-like aliens. Their plan on Earth – abducting local residents and encasing them in cotton candy cocoons. Only Mike and Debbie can stop them. But first they have to convince the police that their small town is in danger.

It’s almost impossible not to admire the sheer out-of-control creativity behind Killer Klowns.

If you grew up watching movies like It Came from Outer Space or The Blob, you’ll likely smile a lot while watching Killer Klowns. Certainly, it’s story could have been ripped from any number of teen horror pictures from the 50’s. Yet In spite of its topsy-turvy premise, the Chiodo Brothers clearly have an affection for these old B-movie. In addition to following the same basic plot structure, Killer Klowns from Outer Space revels in old-fashioned, low-budget inventiveness. Convincing? Not really. Convincingly fun. Absolutely. Grotesque, cartoonish “Klowns” liquify townsfolk and slurp them up through straws. In one scene, a clown captures several people with a shadow puppet. It’s almost impossible not to admire the sheer out-of-control creativity behind Killer Klowns from Outer Space.

Not Surprisingly The Chiodo Brothers Emphasize Comedy over Horror

For the uninitiated, it’s worth pointing out that Killer Clowns from Outer Space is firmly rooted on the comedy side of the fence. Like Troma films, Klowns fully embraces the absurdity of its concept. And The Chiodo Brothers want audiences to do the same. After all, it’s a movie called “Killer Klowns from Outer Space” with the clown spelled with a ‘k’. In a movie where the aliens use guns that shoot popcorn and encase victims in cotton candy cocoons, subtly is not an option. Fortunately, Klowns is much better at intentionally mining the ‘clowns’ premise for laughs than most Troma efforts. This is an intentionally silly film, but most of its visual gags work.

While Klowns is almost ‘review proof’, the one area where it’s clearly a let-down is the horror part of the equation.

While Klowns is almost ‘review proof’, the one area where it’s clearly a let-down is the horror part of the equation. Aside from the creepy clown masks and costumes, there are no real scares of which to mention. In fact, the Chiodo Brothers make no effort to introduce genuine scares. There’s also a surprising absence of gore and explicit bloodletting. I expected Klowns to take a similar approach to its horror-comedy as films like Dead Alive, Bad Taste, or Evil Dead II. This is a PG-13 film that barely earns that ’13’ in the rating. The closest Klowns gets to embracing the 1980’s gory is a scene where a Klown uses John Vernon’s Deputy as a hand puppet. Yes, there’s some blood and gore. But it’s neither excessive nor mean-spirited.

Killer Klowns From Outer Space is the Perfect Sleep-Over Movie

Not surprisingly, given its title and premise, Killer Klowns from Outer Space is a ridiculous movie, but it’s a wonderfully ridiculous movie. Not everything hits the mark but Killer Klowns largely nails its affectionate send-up of old B-films. This is the kind of film that is best enjoyed watching with friends and a few drinks. For younger audiences, Klowns makes the ideal sleep-over movie where no one needs to play close attention and its pure silliness will feed into the giddy energy in the room. Happy anniversary Klowns! They don’t make them like this anymore.

Send in the Clowns: Terrifier Is a Cut Above Your Typical Slasher

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Apparently quite a few people are afraid of clowns. In fact, there’s even a term for it – coulrophobia. Years before Bill Skarsgard scared up big box office receipts as Stephen King’s Pennywise the Clown, Tim Curry donned the greasepaint for the first attempt at It. American Horror Story gave us Twisty the Clown. Even social media got in on the act a couple of year ago with the ‘killer clown’ fad. But none of these clowns have anything on Art the Clown. Based on a short film and a segment from anthology horror movie, All Hallow’s Eve, Damien Leone’s Terrifier has finally found its way to Netflix after a brief theatrical run courtesy of Dread Central.

Synopsis

On Halloween night, an unseen figure watches a television interview with the horribly disfigured survivor of the “Miles County Massacre.’ The young woman was brutally attacked by a killer clown referred to as ‘Art the Clown.’ Though believed to be dead, Art the Clown is very much alive and he’s not happy with what he’s seen on the television. So Art puts on his face paint and sets off into the night where he inevitably finds three young women – Tara, Dawn, and Vicky – whom he immediately stalks and terrorizes..Lost in an abandoned apartment building, the three women must now fight to survive the random destructiveness of the grease-painted monster.

A Straightforward Exercise in Depravity

Forget subtext or subtlety, movies don’t get much more straightforward than Terrifier. Damien Leone’s feature-length expansion of his short film by the same name has no greater ambition than to disgust and frighten in equal turns. In this regard, Leone is completely successful as Terrifier is about as lean and nasty as one could expect. Little time is wasted with place-setting or unnecessary exposition. Leone gets his ‘gore fest’ churning along in short order.

Yet Leone’s simple story works in large part due to its relentless scares and tension.

There’s not necessarily anything new with how Terrifier sets about its business. In fact, there’s really no story of which to mention. Clocking in at just under 90 minutes, Terrifier is basically an extended cat-and-mouse game that’s soaked in a lot of blood. Of course, the movie does eventually feel a little repetitive by the time the third act kicks in. Yet Leone’s simple story works in large part due to its relentless scares and tension. Credit also goes to the truly disturbing violence that Leone commits to the screen. Aside from this violence, Leone also introduces some truly idiosyncratic elements that disturb in an entirely different way. Audiences will have little time or interest in questioning some of the gaps in logic.

Good Old-Fashioned Practical Gore Effects Stun

While Terrifier is obviously low-budget, there are few examples of those constraints in the movie. Fans of old-fashioned practical gore effects made famous by the likes of Rick Baker and Tom Savini will find a lot to enjoy about Terrifier. Elisa Vecchio’s make-up effects are believable and gruesome in all the right ways. Every slash and stab looks real and Leone doesn’t hold back. Just when you think Terrifier can’t gross you out any more, Leone and Vecchio offer even more transgressive violence. One scene with Art the Clown and a hacksaw accomplished the rare feat of eliciting a gasp as I watched.

Horror Fans Have a New Villain To Fear

No offence to Pennywise the Clown and It, but Art the Clown is the most terrifying ‘killer clown’ in horror. Much like the movie’s story, David Howard Thornton’s performance as Art the Clown is simple and straightforward. With no dialogue, Thornton relies on body movements and facial expressions to get under the audience’s skin. And get under your skin he does. Even when he is just staring motionlessly into camera, Art the Clown delivers a maximum creepy quotient. Leone’s script also wisely chooses to give the ‘killer clown’ no motive or explanation, thereby making him more of an entity than just a psychopathic killer.

Terrifier’s score gives the movie an ’80’s horror vibe while still serving to distinguish itself from other imitators of the decade.

Everything else about Terrifier works quite well for what Leone intended. There are no Oscar-worthy performances from the rest of the cast. No one turns in a needlessly wooden performance either. Terrifer’s score also provides an 80’s horror vibe while still serving to distinguish itself from other imitators of the decade. The cinematography similarly evokes comparisons to classic ’80’s horror while never looking overly cheap.

Terrifier Does More With Less

Few horror films are as likely to disturb as Terrifier. Tense, disgusting and, at times, weird, Damien Leone has twisted an old horror premise just enough to make it feel new. Art the Clown may be the best addition to horror’s rogue gallery in years. Furthermore, Terrifier is a case of getting the most out every aspect of your movie on a low budget. There’s clearly some franchise potential here.

THE PROFESSOR’S FINAL GRADE: A