Rabid horror fans (and lifelong fear of clown sufferers) need no introduction to the colorful Chiodo Brothers. The trio, consisting of graphics expert Stephen, chief designer Charles and executive producer (and youngest brother) Edward, grew up making homemade creature features together in Bronx, New York before helping Tim Burton establish his empire by working on the short, VINCENT, in 1982. They received rare critical pundits for their seminal KILLER KLOWNS FROM OUTER SPACE collaboration in 1988 and confirmed their bid as twisted auteurs by designing the puppets for Trey Parker and Matt Stone’s TEAM AMERICA: WORLD POLICE in 2004. With nonstop projects (including an upcoming 1950’s style monster movie in the works), the gregarious siblings recently took a moment to talk with FANGORIA about past and future projects and their first Midwest appearance at Chicago’s 24 hour Music Box Massacre 6 on October 9.

In considering the true “masters of horror,” it would be foolish if the name Wes Craven wasn’t immediately mentioned. Making films since the early 1970s, the director has managed to craft three landmark films of terror in three consecutive decades, amidst a lengthy filmography of other works that are often frightening, witty, intelligent and surprising. This Friday, the first feature he has both written and directed in over 10 years, MY SOUL TO TAKE, hits theaters, and the legendary filmmaker sat with Fango to discuss recurring themes, coming of age and his own life and beliefs—and how they shaped his newest offering.

The most treasured of all Antarctic deep-freeze creepfests, John Carpenter’s THE THING, is at last seeing a long-mooted follow-up courtesy of Universal Pictures. Not a remake or a reboot, but a prequel, whose final reel will end immediately where the Carpenter classic begins. So yes, we’ll finally get to witness first-hand the original discovery of the alien craft—seen only in silent, black-and-white video footage in Carpenter’s 1982 film—and experience the bloody events leading to the destruction of the Norwegian camp, from which the shapeshifting “thing” escaped to U.S. outpost #31 and its inhabitants, including pilot R.J. MacReady (Kurt Russell).

On one of the last few nights of MIRRORS 2’s shoot, Fango arrives on the sequel’s Baton Rouge, Louisiana set just in time to listen to actor Jon Michael Davis scream his head off. In agony. For hours.

Writer/director Angel Mario Huerta’s SERES: GENESIS, opening this Halloween in the States after premiering in its native Mexico last week, marks the first installment in a trilogy of apocalyptic alien invasion flicks (with SERES: EVOLUTION and SERES: EXTINCTION to follow) based on Huerta’s popular Spanish-language graphic novel. GENESIS promises to dish out a Latin-flavored sci-fi thriller experience, while delivering a fresh take on those tired conspiracy theories of 2012’s dreaded doomsday prophesies. See exclusive pics and comments from SERES: GENESIS below the jump, as well as the film’s trailer.

Word raced across the web this week that one of our favorite horror thrillers of recent years, 2005’s WOLF CREEK, would be getting the sequel treatment (see item here). Original writer/director Greg McLean, who also made 2007’s killer crocodile film ROGUE and executive produced the new revenge thriller RED HILL (starring TRUE BLOOD’s Ryan Kwanten; due November 5 from Sony) will continue the bloody adventures of psychopathic bushman Mick Tayler (played to lunatic perfection by John Jarratt) in the follow-up. The talented Aussie filmmaker gives Fango the early scoop on WOLF CREEK 2 below the jump.

As the fifth season of Showtime’s hit pseudo-serial-killer-thriller-drama DEXTER begins to spill its DNA all over the airwaves, it’s important to analyze what makes the show tick. Of course, it’s chief asset is a dynamic, layered central performance from actor Michael C. Hall as everyone’s favorite bloodthirsty, half-mad vigilante murderer, a serial killer who only targets other killers. The supporting cast (led by Jennifer Carpenter, who plays his butch but still fragile sister) who—like everyone else in the show—are oblivious to the darkness in Dexter’s heart. And, of course, the music by composer Daniel Licht. What’s that? You've never stopped to think about how vital Licht’s experimental, organic sounds are to manipulating your emotions and eliciting a visceral response every week? Well, then…you just don’t know DEXTER well enough, do you?