Recently, Hollywood box-office analysts have noted an alarming drop-off in 3D revenue during new films’ opening weekend releases. Whereas a year ago 3D made up 60 percent or more of opening weekend ticket sales, the percentage has dropped to about half that number in current weeks. Are audiences getting tired of the gimmick and paying the extra bucks for the extra-viewing dimension? Or are the films themselves just not so special to warrant the higher prices and to have a big piece of plastic sitting on the bridge of your nose for two hours?

I was sitting alone at the bar, pondering. It was an off night, but knowing I was to play The Black Dahlia, I had to start my research somewhere. And so there I sat at the bar at one of the oldest Haunts in Hollywood, The Formosa Cafe. Above the bar, I was quickly scanning the old Hollywood glossy 8x10's of Audrey Hepburn and Walter Matthau to name a few. I couldn't help but go back in time, and recreate my own scenario of young girls in the 1940s, walking into this happening place hoping to get discovered. Jack the Ripper was known to whisper to prostitutes asking "Are you Mary Clarke?" Hollywood producers are no different. They instead would whisper to pretty girls, one of the biggest lies on the planet "I have a role of a lifetime for you."

As we first reported here, filmmaker Dante Tomaselli (TORTURE CHAMBER, SATAN’S PLAYGROUND) has announced he is proceeding with his long-mooted remake of ALICE, SWEET ALICE, the 1977 shocker (pictured left) directed by his cousin, Alfred Sole, with a script co-written by Fango’s Michael Gingold. Tomaselli gave us more details on the project, as well as the exclusive first look at an early poster.

Veteran director Oliver Stone took his first jaunts in the feature realm with the horror films SEIZURE and THE HAND, so it only follows that his son Sean do the same. The second-generation Stone spoke with Fango about his new paranormal chiller GREYSTONE PARK.

V/H/S (out now in limited release from Magnet) doesn’t end on its wraparound. Instead, after you’ve been shocked, and jolted your way through the found footage visions of a panel of established genre filmmakers, the new kids—Radio Silence—take it home. Rousing, energetic and a whole lot of fun, the viral video collective’s jump to the big screen is classic Anthology material. A house of horrors and the four gentleman who mistakenly enter it, “10/31/98” is sending viewers out buzzing.

Today we continue our interview with acclaimed Canadian director Ted Kotcheff (see part one here), whose once-feared-lost 1971 Australian film WAKE IN FRIGHT is being given an ambitious rerelease across the U.S., courtesy of Drafthouse Films.

In the trailer for new web series FANGORIA’S BLOOD & GUTS (Presented on the Nerdist YouTube channel), host Scott Ian sits across from effects artist and director Robert Hall of LAID TO REST infamy and declares, “CGI sucks. F—k CGI!” It’s a rallying cry that will no doubt endear Ian to BLOOD & GUTS’ target audience, meaning anyone interested in the enduringly fascinating discipline of special effects makeup—lovingly devised, sculpted and implemented by human hands to thrill and shock thirsty terror addicts worldwide.