Shout! Factory gave Fango the first word on complete content details for its two-DVD Special Edition of THE PSYCHO LEGACY. The set, which streets October 19, supplements the 90-minute documentary with more than three hours of bonus material.

FANGORIA is partnering with Entertainment One and D&E Entertainment for nationwide, one-time-only theatrical screenings of the raucous horror/comedy SUCK on September 2. Showtimes and theater locations are now available for this bloody fun event here.

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.

The writer/producer/director talks about the slew of projects that his name has been linked to. Will there be a third NIGHT WATCH film? Is he going to direct ABRAHAM LINCOLN: VAMPIRE HUNTER? Read his comments after the jump.

Korean director Kim Jee-woon (A TALE OF TWO SISTERS) is going to have to recut his horror pic I SAW THE DEVIL. The film, which is supposed to be released this Thursday in his homeland, has been given a “restricted rating” (for extreme violence) by The Korea Media Rating Board, which essentially prevents DEVIL from opening in its original form.

There’s a new poster ready for the on-line horror series “THROWING STONES,” and the creators threw it our way this morning. Check it out after the jump.

Fango’s Australian correspondent Michael Helms sent over the scoop about a new WWII horror flick that just got rolling in nearby Wellington, New Zealand. It’s called THE DEVIL’S ROCK, and it marks the feature debut of director Paul Campion (pictured).

Gearing up for its world premiere at the this year’s Film4 FrightFest in London on Monday, August 30, the South African zombie film THE DEAD has a new behind-the-scenes clip ready for your perusal. Check it out after the jump.

Robert G. Weiner (pictured) and John Cline might strike you as a pair of typical Texas-based film academics—until you open their books to chapters like “Fondling Your Eyeballs,” and “Kicking Against the Pricks.” As co-editors of FROM THE ARTHOUSE TO THE GRINDHOUSE: HIGHBROW AND LOWBROW TRANGRESSION IN CINEMA’S FIRST CENTURY (and its follow-up, CINEMA INFERNO, both out August 16 from Scarecrow Press and containing essays by Fango’s own Rebekah McKendry), Weiner and Cline cover unconventional cinema with the knowledge of historians and the glee of film geeks.

Sex and violence. Why do we culturally gravitate toward entertainments that exploit these two facets of the human id? If I could properly explain that, then the mysteries of the human condition would be no more, and FANGORIA might be out of business. It’s just how we’re wired, that primal voyeuristic need to channel aggression and lust through entertainment…and writer/director Darren Ward knows this. For sex and violence are the chief reasons why Ward’s new film A DAY OF VIOLENCE (now out on British DVD) exists.

At the Museum of Arts and Design in New York City, the Zombo Italiano series presented Lamberto Bava’s graphic shocker DEMONS. It tells the now-classic story of theater patrons watching a horror movie on the big screen who are suddenly cursed to turn into bloodthirsty creatures themselves.