Loosely based on the real-life Texarkana Moonlight Murders, “The Town That Dreaded Sundown” is a Southern horror thriller helmed by director Charles B. Pierce (“The Legend of Boggy Creek”). It takes its inspiration from a series of unsolved murders and attempted murders over a ten-week period in 1946. The killings garnered nationwide attention and made headlines across the country.

“The Town That Dreaded Sundown” was written for the screen by Earl E. Smith and briefly narrated by Vern Stierman. Set in and around the city of Texarkana, which straddles the Texas and Arkansas border, the story takes place eight months after the end of World War II. Most of the war-weary soldiers have returned to the town of 40,000 and are trying to get back into something resembling an everyday routine.

But the town is shaken to its core on the evening of March 3, 1946. While parking on a rural lovers lane, a young couple is attacked by a brawny man in a white hood with eye holes cut out. Both manage to survive but not before they’re savagely beaten within an inch of their lives. The investigation is led by Deputy Norman Ramsey (Andrew Prine playing a character inspired by Bowie County Sheriff Bill Presley). But the cops end up with no clues, no suspects, and no arrests.

Despite that, things eventually get back to normal in Texarkana. But on a rainy Saturday night, a mere 21 days after the first attack, the police make a gruesome discovery. A young man is found dead in the ditch near a rural road. His murdered girlfriend is found a short distance away, her body tied to a tree. Immediately a wave of fear sweeps across the town. Terrified citizens start buying guns and adding new locks to their doors.

As the killings become national news, the desperate police call in Captain J.D. Morales (Ben Johnson) of the Texas Rangers, a character based on real-life lead investigator M.T. “Lone Wolf” Gonzaullas. He immediately takes charge of the investigation, calling in twelve of his own men and setting rules for the local cops and area press. Meanwhile the killer, now dubbed “The Phantom”, continues his murder spree which puts more pressure on Morales to bring an end to the terror.

While the movie sounds like a prototypical slasher, it doesn’t always play like one and that’s a strength. At times it operates with a near documentary style. Other times, as the killings get more horrific, the movie more closely resembles a gritty crime thriller. Where it stumbles is in the strangely out of tune attempts at comedy. They’re all found in patrolman A.C. “Spark Plug” Benson (played by Pierce) who is assigned to be the designated driver for Morales. His absurd scenes clash mightily with the story and belong from an entirely different movie.

Despite those tonal jolts and the occasional moments of shaky acting, “The Town That Dreaded Sundown” is effective in creating the very dread found in its title. It’s spin on the true events keep us engaged and the finish has an unsettling edge that leaves us wondering. The film certainly shows its age, but it’s also atmospheric and at times genuinely chilling. And that’s enough to overcome a handful of poor comedic choices that should have been left on the cutting room floor.

VERDICT – 3.5 STARS

Only one year removed from directing the Best Picture winner at the 40th Academy Awards (“In the Heat of the Night”), Norman Jewison followed up with a very different but equally lasting film, “The Thomas Crown Affair”. By ‘lasting’ I don’t mean the two film’s have the same weight or the same impact. But both movies still resonate nearly 60 years after their original releases albeit for much different reasons.

Aside from its alluring title, “The Thomas Crown Affair” had the draw of bona fide star power with Steve McQueen and Faye Dunaway. McQueen was at the front end of a run that would forever define his career. But he already had several big movies on his résumé as well as an Oscar nomination. Dunaway was still a young star, but she had just garnered major attention for her role in the smash-hit “Bonnie and Clyde”.

Richard Burton and Sean Connery were first in mind to play Thomas Crown but both turned it down. The role eventually went to McQueen who goes against type playing the eponymous lead. Thomas Crown is a successful Boston financier who has made millions of dollars through his own thriving company. In addition to being a prominent tycoon, Thomas is also thrill-seeker who satisfies his lust for adventure through high-stakes golf matches, flying gliders, playing polo, and riding dune buggies on the beach.

But his biggest kick comes from organizing bank heists – not for the money but for the sheer rush. He’s the man behind the plan, orchestrating every detail right down to the cemetery drop-off location. Then he watches his players pull it off. He keeps his identity a secret, hiring five complete strangers yet never meeting them face-to-face. His only in-person involvement is picking up the money at the designated location.

The movie opens with an explosion of style as Jewison and cinematographer Haskell Wexler shoot Thomas’ latest heist through a series of fascinating compositions. The bank robbery goes off without a hitch to the tune of $2.6 million. After paying off his men, Thomas moves the rest of the money into a Swiss bank account and then sits back to enjoy his spoils.

With no leads and no suspects, the police eventually give up. But the bank’s insurance company has too much at stake, so they call in Inspector Vicki Anderson (Fay Dunaway) to help investigate the case. We learn quick that she’s ruthless and is not bound by any laws. She’s in it for the money – driven by the 10% she gets of whatever she’s able to recover. And as her tactics show, she’ll do anything to get her earnings.

Through connections that are threadbare at best, Vicki hones in on Thomas as her chief suspect. She wastes no time introducing herself to him and doesn’t attempt to hide her identity or her intentions. Confident yet curious, Thomas plays along in what becomes a sultry game of cat-and-mouse. The two begin dating and even fall in love. But establishing trust is a different story. Soon Thomas finds himself playing the ultimate thrill game against a seductive opponent who’s up for the challenge.

McQueen was an interesting choice to play Thomas Crowne and his performance ranges from spot-on to strangely out of place. Through much of the film he’s ruggedly dashing and convincingly assured. But there are instances where his working class screen image clashes with the rich and dapper magnate he plays. He ultimately pulls it off. And McQueen creates some sizzling chemistry with Dunaway whose playful exterior masks a more devious side.

“The Thomas Crown Affair” was a success at the box office despite being greeted with lukewarm reviews from critics. It would go on to win the Best Original Song Academy Award for Michel Legrand’s “The Windmills of Your Mind” and over time has received more favorable reevaluations. It even led to a successful 1999 remake starring Pierce Bronson and Rene Russo. As for the 1968 film, it doesn’t sit among Norman Jewison’s best films. But “The Thomas Crown Affair” has maintained a lasting appeal that (for the most part) still holds up today.

VERDICT – 3.5 STARS

A husband and father squares off against his inner demons following a devastating tragedy in the tense and bracing “The Twin”. Directed by J.C. Doler, this psychological horror thriller is as clever as it is unsettling, using well established tenets from the horror genre in its smart, incisive, and terrifying examination of mental health, childhood trauma, grief, and forgiveness. And that only scratches the surface of the film’s thematic richness.

Getting “The Twin” made had its share of hurdles. Its genesis can be traced back to a short film Doler made with his wife, Taylor Bracewell. After being approached about turning it into a feature film, Doler spent the next several years hammering out the script through nearly thirty drafts. He finally found the root of his story in an old Irish legend. But then came the challenges of funding, and after that the COVID-19 pandemic. But his diligence paid off and the film finally came together.

Following a heart-wrenching prelude, the story (co-written by Doler and Paul Peterson) follows Nicholas Schultz (Logan Donovan) whose life crumbles after he and his wife Charlie (Aleska Palladino) lose their young son Jacob (Tripp Toupal) in a tragic accident. While both struggle to cope, Nicholas takes it especially hard, going as far as attempting suicide. Charlie is able to save his life and eventually has him placed in a state institution.

A month passes and Nicholas returns to their home – an old farmhouse that has been in his family for years. Returning to the scene of the accident is difficult enough, but Nicholas’ problems only seem to compound after Charlie declares she’s leaving him. It’s a jarring revelation and we’re tempted to judge her actions as insensitive and self-serving. But we learn Charlie has been crumbling under her own suppressed grief and she desperately needs time away for her own mental wellbeing.

That leaves Nicholas alone with his guilt, sorrow, and trauma in a house where painful memories linger in every corner. But to help, and as a condition of his release, he’s required to receive routine home visits from a psychiatrist, Dr. Andrew Beaumont (Robert Longstreet) whose services include therapy, making sure Nicholas takes his meds, and “light” hypnosis. The two don’t instantly hit it off. But Andrew is both patient and sympathetic, having gone through some trauma of his own.

But the unease sets in as we witness Nicholas being haunted by disturbing nightmares. Then he begins hearing malicious voices that later evolve into terrifying visions. It eventually leads to him coming face to face with his fetch which is defined in the opening script as “a supernatural double or apparition of a living person.” His fetch (or twin) is a chilling and gruesome manifestation of his inner dark side which blurs the lines between his crippling mental anguish and reality.

Doler’s direction impresses in a number of ways. Take how he employs a variety of well-used devices from the horror genre and imbues them with a sharp psychological edge. Not only does it play with Nicholas’ ability to discern what’s real from what’s in his head, but for a time it challenges our perception as well. Through it we’re treated to some grisly imagery that includes gnarled bodies, milky eyes, and necrotic fingers – all fun reminders that we’re watching a horror movie. Yet it’s one with a piercing allegorical bite.

Perhaps more than with any other genre, good horror movies come in numerous forms. Some of the best are able to unsettle us while finding compelling ways to speak to the human condition. “The Twin” certainly does that through its smart script, sharp direction, and gripping performances from Donovan and Palladino. The film may not fully develop all of its ideas, but it tackles weighty subject matter while still entertaining us like good old-fashioned chiller.

VERDICT – 4 STARS

How am I so late getting to one of the biggest treats of the movie year? Much like its titular lead character, “Thelma” is an absolute delight. Writer, director, and editor Josh Margolin took inspiration from his very own grandmother, Thelma Post, who turned 104 earlier this year. Margolin based his lead character on her, and the early setup to his story is taken from a real situation his grandmother experienced.

Who better than the effervescent 95-year-old June Squibb to play Thelma Post, an infectiously charming elderly woman who spends her days cross-stitching, watching YouTube videos, and trying to figure out the Facebook app on her cellphone. She has a tight-knit relationship with her sweet and caring grandson Danny (a very good Fred Hechinger) who happily comes over to help her around the house and take her wherever she needs to go.

Thelma’s adventure begins when she gets a strange phone call from a man claiming Danny has ended up in jail. The man needs $10,000 cash mailed to a certain address in order to get him out. In a panic, Thelma pulls money from her hidden stash and drops it in the mail. But when she finally gets in touch with Danny she realizes she has been scammed. She goes through all the proper channels but can’t get her money back.

Instead of sitting idle and accepting her losses, an inspired Thelma sets out to reclaim what is hers. But she’ll need to do it without her disapproving family knowing. And since she can’t drive, she will need a little help. So she seeks out her old friend Ben (the late, great Richard Roundtree) who lives in a nearby retirement center and happens to own a shiny red two-seat mobility scooter. After some reckless convincing, Thelma and Ben are putting across Los Angeles to Van Nuys to confront the scammers face-to-face.

Squibb and Roundtree are such an enjoyable pairing, bringing ample amounts of personality, warmth, and humor to both of their characters. Adding to the fun is Parker Posey as Thelma’s fussy daughter Gail and Clark Gregg as Gail’s tightly wound husband Alan (Clark Gregg). Together they are reasonably concerned yet slyly amusing helicopter parents to Danny and take a similar approach to shepherding Thelma. It leads to several funny back-and-forths.

But at the end of the day this is a June Squibb joint and she brings all the energy, charm, and playfulness necessary for an entertaining crowdpleaser. The movie provides her with everything she needs to keep us rooting for Thelma and laughing most of the way (wait till you see the hilarious Tom Cruise / “Mission: Impossible” bit). And Margolin’s love for his real grandmother comes through in the clear affection he shows for the Thelma he puts on screen. That love proves to be the secret sauce that makes “Thelma” such a joy.

VERDICT – 4 STARS

I imagine that no one is as surprised to see a third Terrifier movie as the franchise’s creator, Damien Leone. What started as an indie splatter film made for $35,000 has blossomed into a legitimate franchise with growing budgets and an enthusiastic fanbase. Now “Terrifier 3” is in theaters and it sticks close to its successful formula. That means a few shocks, some good laughs, and gobs of gore.

The first feature in the series, 2016’s “Terrifier”, was short on story and character-building but made up for it with its twisted vision and gnarly effects. Its eventual sequel, 2022’s “Terrifier 2”, overcorrected in its attempt to put more emphasis on storytelling. But it still managed to give hungry fans more of what they were craving.

“Terrifier 3” does much the same except this time the story is tighter and more fun. It (sorta) picks up where the last film left off and answers several lingering questions. It’s also set during the Christmas season which gives Leone an entire holiday sandbox to play in. And he doesn’t waste any time. He opens his film with a horrifying sequence that immediately tests his audience’s mettle. It’s a sequence that epitomizes the Terrifier series – stun the crowd, soak them in blood, and then throw in some unexpected humor to take the edge off.

Five years after the events of “Terrifier 2”, Sienna Shaw (a returning Lauren LaVera) is released from a mental hospital and set to stay with her Aunt Jess (Margaret Anne Florence) and Uncle Greg (Bryce Johnson). They have a daughter named Gabbie (Antonella Rose) who idolizes Sienna but knows nothing about the trauma she has endured. As for Sienna’s kid brother Jonathan (Elliot Fullam), he has moved off to college where he tries to put the Miles County Massacre behind him.

But this is a horror movie and that’s always easier said than done. It’s especially true here as the demented Art the Clown (David Howard Thornton) returns, this time accompanied by his disfigured and equally deranged first victim turned partner-in-crime, Victoria (Samantha Scaffidi). The pair set out on another murder spree across Miles County, eventually setting their sights on Sienna. But before we get to their inevitable round two, Leone gives Art numerous opportunities to ply his grisly trade against a number of hapless victims.

In what has become a staple of the Terrifier franchise, much of the movie revolves around the gruesomely creative ways Art offs his many victims. Most are wildly excessive with the intent of stunning the audience and one-upping what the previous films have done. As before, they give Leone the chance to show off his incredible make-up and effects work. The results are not for the faint of heart. At the same time, the movie is very self-aware. It fully embraces its absurdity, especially with Art who injects a level of humor into every sanguinary encounter.

With part three, Leone continues to tease Art as something more sinister than an aimless nihilistic killer clown. He ventures further with the supernatural element that was hinted at in the first film and expanded on in the second. It’s utterly ridiculous and frankly doesn’t make a lot of sense. But it allows Leone to indulge in even more gore-filled mayhem while also setting the table for another film which is pretty much a certainty at this point.

Much like its predecessors, “Terrifier 3” creates most of its tension from the sheer fact that no one on screen is safe. It also retains the grindhouse grit that is either a strength or a weakness depending on your stance. Its storytelling can be shaky in spots and the logistics don’t always line up. But Art the Clown continues to climb towards the upper tier of horror movie baddies and Lauren LaVera has earned her spot as a legitimate scream queen. And all under the guidance of Damien Leone who looks to have a bonafide hit on his hands.

VERDICT – 3.5 STARS

Whether or not you’re a fan of horror movies, and more specifically its splatter film subgenre, it’s hard not to be both impressed and inspired by what the Terrifier movies have accomplished. This truly is an independent film success story. With hardly any money but a big and bloody vision, Terrifier has become a full-fledged franchise. And it was born from the twisted but ingenious mind of its creator, Damien Leone.

Released in 2016, “Terrifier” was a stand-alone feature written and directed by Leone. It focused on a character Leone highlighted in his 2013 anthology film “All Hallows’ Eve”. It’s been said that he made “Terrifier” as a way of showcasing his work in practical effects. He also saw it as a means of introducing more people to his maniacal antagonist Art the Clown.

“Terrifier” is a remarkable achievement especially when considering it was made on a shoestring budget of just over $35,000. Leone took on the duties of director, writer, producer, editor, and effects supervisor. It took time, but the film eventually earned a strong cult following which opened the door for a sequel that released in 2022. And now we’re only days away from a third installment hitting select theaters.

With “Terrifier”, Leone meets every splatter film expectation. You can almost sense the grindhouse giddiness as he bathes his audience in blood and gore, often doing things to the human body that will shock some and repulse others. At the same time, it’s often so outlandish that you can’t help but have fun. Art (gleefully played by David Howard Thornton) is a big reason why. Part mime and part party clown, the demented murderer stabs, shoots, saws, stomps, clubs, gouges, dismembers and disembowels with a childlike elation.

Though wacky in its excess, the film still generates some legitimate chills. Once he establishes Art as a genuine threat, Leone creates some unnerving tension as his terrified cast sneaks, crawls, runs, but mostly succumbs to an assortment of grisly deaths. Several other details add to the experience from the exploitation era film grain to the killer score from composer Paul Wiley.

Where the movie falls short is in its bare-bones story and shallow characters. Basically two intoxicated friends, Tara (Jenna Kanell) and Dawn (Catherine Corcoran) leave a late-night Halloween party and stop at a pizzeria to sober up. They’re followed inside by Art the Clown who is quickly kicked out by the restaurant owner for creeping out Tara. The girls decide to leave but discover the tires slashed on Dawn’s car. Still too drunk to drive, Tara calls her sister Victoria (Samantha Scaffidi) to come pick them up. But as they wait, Art reappears and the terrorizing begins.

The rest of the movie is literally Art stalking Tara and an assortment of disposable human characters who exist solely as fodder for a madman and to show off Leone’s insanely imaginative effects work. It’s bookended by a couple of scenes that tease us with an interesting twist. But for the most part, neither the story or the people in it (outside of Art the Clown) will leave an impression on you.

But that doesn’t keep “Terrifier” from being a blood-drenched blast. It’s pure and unbridled sub-genre filmmaking and a testimony to the possibilities offered by independent cinema. It is most certainly not for those with an aversion to gore. Nor will it impress those who are unable to look past its obvious limitations. But for others, Leone’s passion and craftsmanship come together to make an effectively eerie, occasionally shocking, and surprisingly funny splatter film that set the table for the unlikely franchise that we have today.

VERDICT – 3.5 STARS