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Why Terrifier 2’s Bedroom Scene Is So Controversial

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The controversial scene has made many viewers feel queasy and even faint. It is certainly the most gruesome Art the Clown moment from Terrifier 2.

Warning! This article contains spoilers for Terrifier 2!

The controversy surrounding Terrifier 2 has stretched impressively far into the mainstream, stirring debates about the movie's use of extreme gore, particularly regarding the now infamous bedroom scene. The sequel to Damien Leone's cult hit Terrifier has achieved widespread acclaim and a level of publicity far greater than the original could have hoped. The continued murderous exploits of Art the Clown focus this time on Sienna and her younger brother, Jonathan, as they unravel the mysterious connection between the sadistic killer clown and themselves. However, none face his fury more so than Sienna's friend Allie when confronted by a particularly terrifying trick-or-treater.


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When answering her door on Halloween, neither Allie nor the movie's audience could have predicted the obscene level of violence that would be encountered. Claims of Terrifier 2 patrons fainting and vomiting have mostly concerned this scene, which features Art the Clown removing Allie's scalp and skin, ripping off one arm, and splitting another from between her fingers. Art then douses her in bleach and salt before arranging her, still alive, ready for her mother's return. By the end, the whole set is literally dripping with blood in a scene of abject violence not often witnessed except by horror fanatics. The most unsettling aspect is the glee with which both Art and the director seem to revel in displaying these nauseating events. Undoubtedly the most brutal in Terrifier 2, the bedroom scene proposes the notion that Art, not Leone, is controlling the movie, as he appears to be enjoying this level of splattered depravity far more than any audience could. Art's power is yet to be truly defined, though the Terrifier 2 post-credits sequence suggests it transcends the traditional confines of cinema, which only elaborates upon the notion that this is Art's film, and the audience is subject to his whims, not the other way round.


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