Joseph Maddrey’s 2004 book NIGHTMARES IN RED, WHITE AND BLUE: THE EVOLUTION OF THE AMERICAN HORROR FILM has come to life as a documentary, directed by the author himself. Featuring interviews with horror legends such as John Carpenter, George Romero, Larry Cohen, Joe Dante and many others, as well as Fango editor emeritus Tony Timpone, the film (currently available across North America through Warner Bros. Digital Distribution; DVD follows September 28 from Lorber Films) will serve as a companion to Maddrey’s written look at domestic horror and its progression in relation to the changing social and political climates and phases of the United States.

The sequel the way it should have been is finally upon us, and PREDATORS accomplishes exactly what it sets out to—because it follows the rules of how to make a good sci-fi/horror sequel. Those rules are fairly simple: embrace what worked about the first film, turn certain elements on their head and expand the mythology without straying too far from the source.

Last December, the producers of RESIDENT EVIL: AFTERLIFE granted FANGORIA exclusive access to the Toronto set of the fourth chapter in their action/horror franchise, derived from the best-selling Capcom video games. For 10 weeks, right up to AFTERLIFE’s September 10 release from Screen Gems, Fangoria.com is presenting a series of one-on-one interviews with the movie’s cast and crew.

Big Brother has been watching us in various guises and through various methods, in various media, for decades now. And as time has marched on since George Orwell first wrote 1984, reality has been catching up to his science fiction, most notably over the last decade. Staying a step ahead is director Richard Clabaugh’s EYEBORGS—but, he cautions, it’s not that big a step.

By now, you no doubt have an opinion of THE TWILIGHT SAGA, the inescapable movie adaptations of Stephenie Meyer’s novels. The latest entry, ECLIPSE, has been declared the best in the series, likely due to the more straightforward conflict and clearer stakes of its plot. While ECLIPSE is unlikely to convert non-fans, the FX are inarguably better than in the previous entries, especially the computer-generated wolves created by Tippett Studio.

How many slasher films have the balls to start off with the murder of a child? And not just any murder—strangling a little girl until she’s unconscious, ripping the cross from her neck, then lighting her body on fire.

And all this just minutes before her first communion.

Sarah Pinborough started writing at age 5, and hasn’t had a case of writer’s block yet. The 38-year-old author knew at an early age that she was destined to tell her own tales. “I wrote and directed school plays,” she recalls. “I guess my early hobbies were all about story—it was always going to be writing or acting for me. The writing won.”