Viewing “Terrifier 3” as a danger to the genre is … odd? Vaguely pissy, if anything? Cineverse’s mutilation-forward “Terrifier 3” succeeded by coloring outside studio lines. It’s the highest-grossing unrated theatrical release ($63 million worldwide), dodged MPA restrictions, and lacks the substantial advertising funds of mainstream studio machines. Lee talks about copycats like “The Blair Witch Project” didn’t inspire “Paranormal Activity,” Oren Peli’s found-footage superhit that rocketed Blumhose onto the horror scene. There will always be copycats, and yes, we’re about to get some underfunded slashers without coherent stories that will suck the life out of the room, but that’s not going to deter horror fans. The horror genre is built on mimicry and inspiration, following trends with fingers crossed. Art’s rise as a modern horror figurehead is by sheer will. It inspires hope that originality can flourish outside rigid studio templates checking boxes, but even more so, all flavors of horror can co-exist.
The success of “Terrifier 3” is a positive outcome because it was made by an independent creator who delivered his vision and proved that something self-motivated, something that he believed in, could work, confirms Varrati. But, coming from someone enmeshed in Los Angeles’ horror production circles, he adds another silver lining: “Maybe the reasons for impending knockoffs aren’t as altruistic, but in an industry of people who need work and desire to create, it opens up the door to more possibility.” We speak of oversaturation in monetary terms, but rarely from a creator’s perspective. “For every ‘Jaws,’ we get 10 exploitation shark movies that take a Great White to space or make him into Santa Claus. Those movies find an audience, even if it’s not as big, and they create jobs for actors, crew members, production houses, the works,” adds Varrati.
Leone’s “Terrifier 3” may be the thrust toward a 2020s slasher recharge, but that doesn’t mean the genre fails if audiences aren’t on board. Horror can be comedic, romantic, straightforward scary, or dramatic. Better yet, horror fans span countless tastes and preferences. The vast multitude of horror approaches means something for everyone. This idea that everyone will copy “Terrifier 3” until audiences look elsewhere is preposterous because while there might be an uptick in slashers, other horror subgenres will still be there to cleanse palates.
Take this year and my five favorite horror movies: “The Substance,” “Exhuma,” “Stopmotion,” “Infested,” and “It’s What’s Inside.” A monstrous Hollywood satirization, a culturally rich Korean possession tale, a stop-motion plight of the creative, an arachnophobe’s nightmare, and a hilarious body-swap parlor game. What other genre boasts that kind of range?
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