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    AMC to develop Dan Simmons’ arctic “TERROR”

    by: Samuel Zimmerman on: 2013-02-14 13:29:53

    The network behind THE WALKING DEAD keeps dealing in horror business, taking on a property much colder in climate and monstrous in nature. 

    Deadline is reporting that AMC, alongside Ridley Scott’s Scott Free production banner, will take on THE TERROR, an adaptation of award winning horror/sci-fi/fantasy author Dan Simmons’ fictional account of just what happened to the non-fictional Captain Sir John Franklin and his lost expedition to the uncharted portions of the Arctic Ocean’s Northwest Passage in 1845. 

    His fourth expedition to the arctic, renowned officer and explorer (and governor of Tasmania from 1836-43) Franklin, his team and their two ships, the HMS Erebus and the HMS Terror (of where the novel partly takes its title) were icebound and suffered from pneumonia and starvation, with some eventually resorting to cannibalism. Simmons’ novel, however, reimagines a mythological antagonist in the form of a monster called the Tuunbaq. 

    David Kajganich, who penned BLOOD CREEK and has recently been attached to a host of Stephen King-based screenplays, writing new versions of THE STAND, IT and PET SEMETARY, will script. 

    Read more »
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    Women in Horror 2013: Lindsay Denniberg talks her “VIDEO DIARY OF A LOST GIRL”

    by: Vivienne Vaughn on: 2013-02-13 23:42:52

    Horror film enthusiast and indie filmmaker Lindsay Denniberg
    kicked off her feature career with the surreal, dreamlike VIDEO DIARY OF A LOST
    GIRL (see our review).
    The film centers on Louise (Priscilla McEver), a succubus named after the
    eponymous silver screen legend Louise Brooks, and details the hardships that
    come with being a descendant of the demonic Lilith herself. Fango chatted with
    Denniberg about what occurred behind-the-scenes of the film to create the
    on-screen visual madness.

    FANGORIA: How was the experience of shooting your first
    feature?

    LINDSAY DENNIBERG: It was probably the most fun I’ve ever
    had. Exhausting and overwhelming, but also the greatest opportunity to be
    creative with friends; a lot of fun, but also totally scary. I’ve done so many
    shorts with people I love, but working on something this big over such a long
    period of time is a very different experience. You get closer with the people
    you work with but it also tests your relationships. Luckily, we all survived
    and had fun, watched a lot of horror movies and ate a lot of hummus. At the
    best moments it was like one really long, weird, creatively satisfying
    sleepover, or summer camp.

    Sometimes it’s hard to keep the big picture in mind, you’re
    putting a lot of little pieces together (like Frankenstein’s monster), and with
    this project, there were so many layers, formats, materials, tenses – it wasn’t
    easy. I think we just kept fun, honesty, spontaneity and a real love for what
    we were working on in mind. The film holds together because we kept those ideas
    in mind more than anything. Also, working on something so fragmented, in a
    formal sense, makes it a little easier; you have more liberties when it comes
    to variation from scene to scene. But ideals seemed to help unify it all with a
    healthy dose of and goofing off and nudity. 

    FANG: How did you conceive the idea for VIDEO DIARY?

    DENNIBERG: The film is very autobiographical. Granted, my
    vagina unfortunately doesn’t suck the souls out of rapists or ooze bloody TV
    static by the gallon every month, but the whole “I love you, but I’m afraid to
    touch you” theme is definitely all me. I’ve always had a bunch of intimacy and
    body issues, so I’ve learned to deal with that crap over the years by creating
    personal films about body horror (David Cronenberg is more of a self-help guru
    than a filmmaker for me). I originally got the idea of a girl needing to have
    sex to live when I was a lonely, horny teenager, watching EDWARD SCISSORHANDS
    over and over alone in my dark room (while eating a lot of pizza and Doritos).
    EDWARD SCISSORHANDS has always been my favorite film and the one that inspired
    me to become a filmmaker in the first place. Because of that, I promised myself
    I would someday make a film as personal for me as that film was for Tim
    Burton. 

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    Later on, I learned about Lilith (the Mother of all demons)
    and started daydreaming about my own mythology that I could create as an origin
    tale for this “girl” who needed sex to live. This girl was always me, and my
    obsession for Louise Brooks in G.W. Pabst’s DIARY OF A LOST GIRL naturally drove
    home the need to name my main character after her. This idea was many years in
    the making, so as I grew up and changed, so did Louise’s story. I always knew I
    wanted sex and death to be two sides of the same coin for Louise, as they are
    really the only two subjects I am interested in. All the characters in the film
    are based off of real people (or an amalgamation of many) in my life. If I were
    an immortal succubus who worked at a video store, I would be Louise.

    FANG: Can you talk about your writing process for the
    screenplay?

    DENNIBERG: I first started writing the screenplay in my
    undergrad feature writing class at UCF, taught by Barry Sandler (who wrote Ken
    Russell’s CRIMES OF PASSION). I wasn’t expecting it to go in the direction of a
    comedy, but when it was read out loud, the corny dialog that naturally comes
    out of me just guided it from there. I remember very clearly the first time I
    talked about the idea to my good friend Chris Shields on our porch when we were
    roommates in Florida. Chris has been my main collaborator for years and I
    wouldn’t be the filmmaker I am today without him. He understood the story on a
    level like no one else, and contributed things to this film that are too
    numerous to even list. We would talk about the screenplay a lot, but eventually
    it was put on the backburner when I moved to New York to intern at Troma (where
    I was later hired as Lloyd Kaufman’s assistant). 

    The next year I got into grad school at the School of the
    Art Institute of Chicago, and decided on the plane ride there that I would make
    VIDEO DIARY for my thesis film. So as soon as I landed I called Chris and we
    just picked up where we left off. We collaborated by phone and Skype for the
    next year, both saturating our minds with ‘80s horror movies to get in the
    right mood. Chris and I are both pathetically terrible romantics, and horror
    and bad romance is what really draws us together. We love horror romantic
    comedies in a deep way, but we’re also experimenters and fans of the
    avant-garde. I decided to combine the two because that’s usually how I operate
    as an artist: Collaging and mashing together all the things I love into one pot
    and not holding anything back.

    So as I wrote, Chris would read and tell me his thoughts,
    and things would just evolve from there. He was great at helping me reign it
    all in, because I usually have way too many ideas at once and he would keep me
    focused. There’s so much of us both in the script: Our taste, our humor, our
    friendship, our love of monster romance, and I think that is what makes it
    unique. For those who know Chris, it is obvious that Charlie (Louise’s
    love interest) is based off him, so of course it made the most sense to have
    him play Charlie (I mean, who wouldn’t want to put the dark love child of Adam
    Sandler and Lloyd Dobler in a movie?). So much of it was also written in the
    middle of the night with him on the phone as he worked at Dunkin Donuts. It’s a
    very haunted script.

    FANG: What was the production of your film like? Do any
    moments particularly stand out as being memorable?

    DENNIBERG: The intro with Lilith and Adam was shot months
    before everything else, and it kind of set the aesthetic for the rest of film.
    Everything with Priscilla McEver (Louise) and Chris Shields (Charlie) was shot
    over the course of a month at the School of the Art Institute of Chicago. I
    flew them in from New York, and then we had maybe a day to rehearse and hang
    out, then immediately started shooting. It was a very intense schedule. We all
    did so much on the film; it’s kind of a blur. We took the bus everyday to
    set, worked all day on the green screen stage, goofed off, and then took the
    bus home, hung out and watched some horror movies, then passed out.

    After two weeks of shooting the green screen and sound stage
    scenes, we filmed the rest at my apartment (where Priscilla and Chris were
    staying too). I had a very small and intimate cast and crew of wonderful
    friends that graciously worked for free out of the kindness of their hearts. We
    were shooting pretty much 24/7 for the whole month of July, so it was hot as
    hell and kind of gross with all the blood and FX stuff (very much a summer camp
    of horror). 

    The most memorable moment of the production would have to be
    a prank my producer, AD and green screen cinematographer played on the rest of
    us. I would often say jokingly that if anyone was uncomfortable with being
    naked in front of the camera that the entire crew would just get naked too. So
    when some of us got back from a smoke break, all three of them were naked
    pretending to shoot a scene without us! There’s nothing more inspiring then
    seeing a naked woman behind the camera or holding a boom. I would say that
    moment is a perfect example of the kind of fun attitude we all brought to the
    set.

    alt

    FANG: Can you talk a bit about creating the visuals of VIDEO
    DIARY? How much was practical, versus done in post-production?

    DENNIBERG: The film is half green screen sets and half
    regular world sets. The choice to have a scene in green screen really just came
    down to trying to take advantage of the fact that we had no budget. I don’t
    believe in having a big budget to make a movie. I think it’s so much more
    exhilarating to make something beautiful out of trash then it is to dump a
    $1,000.00 on a stupid jib shot that no one cares about (let the record show
    that THE PLAYER is excluded from this statement). Sorry for the money
    philosophy rant, but I think budget has so much to do with the integrity of how
    a film is made these days. Anyway, I created miniatures for any scene that was
    green screened, which was usually constructed out of poster board, paint,
    trash, broken CDs, Barbie dolls, animal print, glitter, Christmas lights, TVs
    and duct tape. The sets were usually built around a TV so that whatever I put
    on the screen would show through as the moon in a night backdrop, or window in
    an interior. Honestly, the entire film was a big experiment because it was the
    first time I ever used green screen. I did all the post-production effects
    myself, and would usually spend eight hours a day editing for the next year,
    just trying new things out as I went and keeping what worked. The intense color
    palette was the Dario Argento and Mario Bava color scheme screaming to get out
    of my brain. My cinematographer Casey Puccini (who also plays Michael, Louise’s
    manager and best friend) is really great at capturing that kind of light and
    mood. We talked a lot about how I wanted it to look like an ‘80s new wave giallo
    on VHS. The flashback scenes in the 1920s are shot on VHS, and I wanted to go
    for the look of an Elvira set, or PLAN 9 FROM OUTER SPACE. I pretty much felt
    like I was in an Ed Wood RPG the entire time. 

    FANG:  What prompted
    you to choose to go with the unique aesthetic of the film?

    DENNIBERG: I wanted VIDEO DIARY to look like that horror
    movie I never found (but knew existed) in the haunted video store that’s been
    my life. Since I was a kid I was obsessed with going to the video store just so
    I could look at the VHS covers in the horror section. I wasn’t allowed to watch
    any of the “scary movies,” so ironically my fantasy of what the horror movie might look like inside the box always ended up being scarier and more surreal then
    the movie itself. 

    The German Expressionist/’80s VHS cover aesthetic just feels
    the most welcoming and instinctual to me. I also think certain media I saw as a
    kid had a weird imprint on my aesthetic sensibilities, like PEE WEE’S PLAYHOUSE
    and the BEETLEJUICE cartoons. My lead actress Priscilla McEver is actually one
    of the biggest Pee Wee Herman and Lydia Deetz fans I’ve ever met, so her
    playing Louise was just meant to be. She also was a child of late ‘80s
    imprinting, and because of that our friendship and collaboration has a very
    sci-fi, X FILES twist to it (I know that she knows where the bodies are buried
    in the Winona Ryder wasteland of our youth).

    When Chris first arrived on one of the sets, he said it felt
    like he had just stumbled into my brain. I feel like my set design is my
    primary way of directing a film for the actors and crew. I think I’m good at
    choosing the right, talented people to interpret my characters, and giving them
    a surreal world to exist in. I’m just lucky that these talented people happen
    to be my good friends.

    FANG: Can you talk a bit about the music in the film?

    DENNIBERG: Friends’ bands and some other folks I met through
    Danny Gallegos, the first AD and the main punk in the movie. He introduced me
    to Bestial Mouths, whose music is all over the film. I saw them play and asked
    if I could use their stuff and they said sure. Danny’s band Cemetery contributed
    a great song “Stateward,” and all the songs Chris sings are his originals from
    his one man punk project, Mr. Transylvania.  Other stuff came from people
    and bands Chris and I knew from playing music and performing in Florida, like
    Outmode, Father Finger, and Counters. The song played in the intro ‘Shadow’s
    Connected to the Light’ is actually the only song written specifically for the
    movie by my friend Matthew Donovan, who also goes by Teaadora. Teaadora also
    plays Adam in the Garden of Eden. The film’s aesthetic and music are very much
    one homemade, collage-y, intense, and colorful makeshift. 

    FANG: You’re obviously a genre fan yourself. Can you name
    some of the inspirations for your film?

    DENNIBERG: Oh god, here we go: Chris and I are such
    video-holics, it’s sick. When we lived together we devoured at least three a
    day. Fassbinder and MORGAN STEWART’S COMING HOME, Andrzej Zulawski and Stephen
    Sayadian. It was a constant high brow/low brow roller coaster. I think that’s
    largely where the film comes from. I’m a huge fan of Albert Pyun, and because
    of VIDEO DIARY, I actually have become friends with him since our films showed
    at the Pollygrind Film Festival together. He helped get me out to the festival
    since I’m still poor as ever, and it really is a dream come true when a
    filmmaker you admire actually likes your work! RADIOACTIVE DREAMS is such a big
    inspiration!

    {vimeo}47488668{/vimeo}

    MY DEMON LOVER and ROCKULA were the biggest influences for
    the tone and humor of VIDEO DIARY. My great affection for romantic horror
    comedies of the 80s and 90s is their sleazy innocence that just makes me swoon.
    Chris Shields is manic for MANNEQUIN and MANNEQUIN 2, so that shines through in
    the script as well. People have told me on more than one occasion that VIDEO
    DIARY feels like an experimental John Hughes film, and I can’t deny that THE
    BREAKFAST CLUB and WEIRD SCIENCE had some kind of wonderful effect on forming
    my cinematic identity. To me there is nothing more romantic then making out in
    a graveyard, or watching a horror movie while eating pizza, or just plan
    ‘getting the shit scared out of me’. Now, in one last quick breath: Lloyd
    Kaufman, Woody Allen, Catherine Breillat, Tony Oursler, Clive Barker, Frank
    Henenlotter, Agnes Varda, Derek Jarmen, Jodorowsky, LIQUID SKY, Argento, Bava,
    Maya Deren, John Waters, NADJA, Jean Rollin, Paul Naschy, George Kuchar, George
    Romero, Nick Zedd, Jerry Lewis, ROCKY, Buster Keaton, Roger Corman, Hammer
    Films, David Lynch, Guy Maddin, HEATHERS, CLUELESS and last but certainly not
    least, Tim Burton. 

    FANG: What project(s) are you working on currently? Do you
    foresee doing more horror in the future?

    DENNIBERG: Chris and I are working on another feature! It’s
    a horror anthology very much in the style of VIDEO DIARY, only this time we
    want to push the insanity of the visuals even further. It’s about a haunted
    video store in the middle of a graveyard, which sets the stage for five horror
    tales, all romanticizing the act of watching a horror film in their own unique
    way. I will direct two, Chris will direct two, and the fifth one will be a
    collaboration of both of us. The tales of terror will consist of a cyberpunk
    Medusa, werewolf women, sex cannibal lovers, a Dr. Frankenstein celebrity video
    mortician, and a gender-bending haunted nerd frat house. My main influences for
    this one are HOLY MOUNTAIN, BOXER’S OMEN and Ancient Greek mythology, whereas
    Chris’s are more in the realm of George Romero, Pier Paolo Pasolini and Stephen
    King. There are many different body parts we are using for this next video
    creature we that we like to call making a movie.

    I’ve also developed a new way of experimenting with
    different looks and moods by working with video installation and performance.
    Right now I am a part of a noise performance group called Viral Swan with my
    friends Caleb Yono and Cassandra Jackson (which I sometimes say feels a lot
    like abstract post-apocalyptic LARPing). Many of the psychedelic sequences in
    VIDEO DIARY were remnants from previous projects and performances in the same
    way.

    FANG: Anything else you want to share?

    DENNIBERG: I guess I would just like to share the crazy
    irony in general I’m feeling right now. FANGORIA has always been one of my
    favorite horror magazines since I was a teenager, and the first boy I ever had
    a crush on is the one who introduced to me to it. It’s so bizarre for me to
    experience the horror and romance involved in just doing this interview in the
    first place, it is very surreal for me. My friend Casey yesterday told me that
    he remembers me talking about dreaming about getting interviewed by FANGORIA
    someday when we were in pre-production for VIDEO DIARY. We laughed thinking it
    would be crazy if that ever happened. And yes, this is totally crazy that this
    is happening, and it is awesome! 

    For much more on VIDEO DIARY OF A LOST GIRL, visit the film’s Facebook

    Read more »
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    James Purefoy: “FOLLOWING” in Bloody Footsteps

    by: Abbie Bernstein on: 2013-02-13 21:58:23

    In person, actor James Purefoy seems like a charming, erudite
    fellow. So does his character Joe Carroll on THE FOLLOWING—at first. Carroll is
    a serial killer who escapes from prison in the first episode of the hit Fox
    thriller, only to be recaptured by Kevin Bacon’s character, ex-FBI agent Ryan
    Harding. Alas, Ryan discovers as the series goes on that Carroll has quite a
    few friends on the outside who are willing to die—and kill—for him in extremely
    gruesome fashion.

    While THE FOLLOWING (which airs Monday nights at 9/8 Central) was created by SCREAM originator Kevin
    Williamson, the show is notably far more serious than the film franchise—which
    seems to be fine with TV audiences, who have tuned in en masse for the episodes
    aired so far. Part of the fun, and the fear, is that anybody can be one of
    Carroll’s disciples, from an angelic-looking young nanny to a seemingly
    friendly security guard, and they can have been living in constructed
    identities for years.

    The Somerset, England-born Purefoy is no stranger to horror,
    having starred alongside Milla Jovovich in the original RESIDENT EVIL as her
    treacherous boyfriend, played the title role in SOLOMON KANE and appeared as
    Henry Clerval in the 2007 televersion of FRANKENSTEIN, but he’s never had a
    role quite like Carroll. He has played a very tricky and occasionally homicidal
    lawyer in the English miniseries INJUSTICE, but isn’t sure if that character
    would have followed Joe Carroll or not. “I suppose he might have. I don’t know.
    I think that character was very much his own man.”

    alt

    The actor helpfully explains the proper pronunciation of his
    last name—“Pure—like orange juice—foy”—and then gets down to the business of
    discussing how came to play a charismatic, persuasive college
    professor-turned-murderer. Wanting to work in the U.S. was “very much” part of
    the equation, Purefoy explains. “I was beginning to feel a bit lonely in
    London. A lot of my friends came over here and have been part of the great
    American golden age of television. I had been asked to do a number of pilots,
    and this one was sitting there, and I was offered it and Kevin and I had to go
    and sniff each other’s behinds like a couple of dogs in the park.”

    Working for a major U.S. network has gone pretty much as
    Purefoy expected—and of course, this isn’t his first American TV gig, as he
    reminds: “I’d had experience with it, because I did THE PHILANTHROPIST for NBC.
    So I’m very aware of the micromanagement you get with American executives. But
    I enjoy it, very much so. I take it very seriously. A lot of money is involved.”

    Obviously, he’s not going to let readers who have been
    following THE FOLLOWING in on the answers to the show’s mysteries at this early
    stage, but Purefoy says he’s aware of why Carroll is doing what he does. “I
    know what he wants. [He’ll do] anything he can to achieve his objectives—which
    are very simple in comparison [to his methods].” Purefoy does, however, a tip
    for people who want to figure out whether a character on the series is going to
    suffer an early demise. “There’s potentially seven years of [THE FOLLOWING]. So
    if you hear too much backstory on somebody, they’re going to die quite soon.
    Generally speaking, the people that you hear the least about are the ones who
    are going to stick around.”

    There are some similarities between his own profession and
    what Carroll does in terms of powers of persuasion, Purefoy notes. For example,
    “Talking to journalists. I’m trying to get you to write really lovely things
    about me and the show. Of course I’m trying to get you to do something.
    Manipulation is all part of our business, isn’t it?”

    The blood and viscera quotient on THE FOLLOWING is high,
    which attracted quite a bit of attention and controversy before and during its
    premiere. Purefoy won’t say whether he’s actually been grossed out by anything
    on the show, but allows, “There have been moments of panic, moments of scenes
    in which I’ve thought, ‘OK, Kevin wants us to do this, it’s all part of the
    story.’ Despite that, before ‘Action’ is said, I think, ‘I’ve got to do this
    now. But between “Action” and “Cut,” who knows what’s going to happen?’ If
    you’re really flying as an actor, you don’t know what’s going to happen in that
    space. It should just happen in the moment. There have been two or three scenes
    that I’ve had to steel myself for.”

    Despite the splatter factor, much of the dread in Purefoy’s
    scenes is psychological. After all, Carroll isn’t as hands-on as some of his
    followers are. “No,” Purefoy agrees, “like a lot of arch manipulators, he gets
    other people to do his dirty work for him. And I learned that from Marc Antony
    [from William Shakespeare’s JULIUS CAESAR and ANTONY AND CLEOPATRA]. He was
    very good at getting other people to do his dirty work. I get a lot of
    journalists asking me about hand-to-hand fighting. I went,” Purefoy acts
    surprised at the suggestion, “ ‘Really?’ ”

    What Purefoy says he’d most like people to know about THE
    FOLLOWING is this: “I have a fear of what I call ‘ambient TV’—TV that washes
    through you. You could be doing anything [while it’s on], it doesn’t really
    matter. I like television that grabs you by the throat, pushes you up against
    the f**king wall and won’t let you go. That excites me. That’s the kind of TV I
    really enjoy watching. I’m sure you must watch loads of ambient TV. But you
    must also watch stuff where you say, ‘I need to see what happens next.’
    Dickens, Shakespeare, whatever—all of those great writers make you want to know
    what’s coming up. And that’s storytelling. Good storytelling is paramount. We
    as a culture love hearing new stories, and this is a good new story. I defy
    anybody to watch an episode in its entirety and not want to know what happens
    next.”

    Read more »
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    Mondo does limited vinyl run of “POLTERGEIST” score

    by: Samuel Zimmerman on: 2013-02-13 18:10:50

    Fantastic music, wonderful art; expect its selling out to haunt you. 

    Expected on sale February 22 at a random time (announced via Twitter), the POLTERGEIST 2xLP set sees great work from Australian illustrators Sonny Day and Biddy Maroney (who together make up the collective We Buy Your Kids) and very obviously, wonderful work from Goldsmith (GREMLINS, THE OMEN, CHINATOWN).

    Mondo writes the soundtrack “formed a significant part of the 1982 film’s conceptual strength. Known for the intensity of his thematic exposition, Goldsmith designs the POLTERGEIST soundtrack to elaborately ground the film between the promise of suburban repose and the malevolent unknown. Beginning in innocence with a classic rendition of the “Star-Spangled Banner,” the soundtrack parallels the film’s intrusion of angry ghosts into the California home of the film’s protagonists with dreadful strings and eerie keys. Goldsmith then switches to airier strings and an ethereal flute to denote the family’s fumbling after their daughter, Carol Anne, is abducted. Utilizing frenzied horn blasts and a sudden lapse into atonalism, the composer ominously signifies the emergence of the Beast. Goldsmith, seemingly effortless, concludes the frantic drama of “Escape From Suburbia” in stark contrast with the sweet and child-like tones of “Carol Anne’s Theme,” elegantly illustrating the dignity and range that his orchestral scores for horror modeled within the genre.”

    Check out the frame-worthy set and follow Mondo on Twitter for more. 

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    Thousand Oaks revels in Indie Horror “CineMayhem” this March

    by: Samuel Zimmerman on: 2013-02-13 16:38:04

    In conjunction with Dread Central’s Indie Horror Month, the first ever CineMayhem Festival gets underway this first weekend in March, celebrating all manner of uncompromising genre.

    Writer Heather Wixson, who you can find tirelessly toiling away at Dread, has founded CineMayhem as a way to celebrate the past, present and future of independent genre filmmaking. The fest will run March 2nd and 3rd at the Muvico Theaters in Thousand Oaks, California and is set to include insane-o anthology THE ABCs OF DEATH, Paul Davis’ much buzzed short film HIM INDOORS and the latest from HILLS RUN RED director Dave Parker. Here’s the rundown, via release:

    CineMayhem’s diverse line-up includes advance screenings of two highly anticipated genre projects including Magnet Releasing’s visceral horror anthology THE ABCs OF DEATH and Breaking Glass Pictures’ mind-bending drama K-11 directed by Jules Stewart (Crank: High Voltage, Mortal Kombat).


    CineMayhem is also thrilled to announce that it will be hosting the World Premieres of ROADSIDE directed by Eric England (Madison County) and the latest short film from Ryan Spindell (Kirksdale), THE ROOT OF THE PROBLEM, as well as the West Coast Premieres of two other short films- Paul Davis’ (Beware the Moon: Remembering An American Werewolf in London) HIM INDOORS and SPLIT THE CHECK by Patrick Rea (Nailbiter).


    Other feature films currently selected for the CineMayhem Film Fest include BREATH OF HATE by Sean Cain (Silent Night, Zombie Night), COLDWATER by Dave Parker (The Hills Run Red) and THE SLEEPER by Justin Russell. CineMayhem will also be screening several other award-winning short films including FAMILIAR by Richard Powell, KILLER KART by James Feeney and FOXES by Lorcan Finnegan as well as a few retro indie horror screenings to be announced soon.

    For much more, you can “like’ and follow the fest’s updates at the official Facebook


    Read more »
  • Fango gives away “COME AND GET ME” on DVD

    by: Bekah McKendry on: 2013-02-08 14:18:17

    Straight from the land down under, COME AND GET ME is
    arriving stateside February 12th and our friends over at Camp Motion
    Pictures have sent some copies for us to give away to some lucky FANGORIA fans.

    When four friends head to the city for a wild girls’ night
    out, an unexpected ride home turns into a night of murder and terror as they
    are stalked by three vicious serial killers through the dense Australian
    hinterlands.

    Want a copy? Send an email to rebekah@fangoria.com with “COME AND GET ME” in the subject line.

    Please include the following info:

    • Name

    • Mailing address

    • Email address

    • Phone number

    • Age

    Best of luck, and for more info on COME AND GET ME as well
    as other great titles, check out Camp Motion Pictures.

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    Read more »
  • Exclusive: Robert Rodriguez’s “CURANDERO” unleashed at last

    by: on: 2013-02-07 19:36:09

    Actually, there were two Rodriguezes behind the supernatural
    thriller, which is finally set to see a long-awaited U.S. release.

    Fango got the exclusive word that Lionsgate Home
    Entertainment and Miramax will release CURANDERO: DAWN OF THE DEMON on DVD
    (with Ultraviolet digital copy) and video-on-demand March 12. Written by Robert
    Rodriguez, who also served as an executive producer with Elizabeth Avellan, the
    film was directed by Eduardo Rodriguez (no relation, and currently set to helm
    Sony Pictures’ direct-to-video FRIGHT NIGHT 2) and stars EL MARIACHI’s Carlos
    Gallardo in the title role. He’s a Mexican faith healer who is called upon to
    purify a police station, and winds up in conflict with a ruthless killer named
    Casteneda (Gabriel Pingarron). Originally completed way back in 2005 and screened
    at Screamfest that year, the film was orphaned when Miramax founders Harvey and
    Bob Weinstein split from then-parent company Disney. The DVD will present CURANDERO in 16×9-enhanced 1.78:1 widescreen, with English and Spanish Dolby
    Digital 5.1 audio; no special features are announced. Retail price is $26.98.

    alt

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  • “V/H/S” director stages an “INTRUSION”

    by: Samuel Zimmerman on: 2013-02-07 18:45:39

    David Bruckner, who previously shined co-directing THE SIGNAL and one of the best segments of V/H/S, to tell a tale of a woman pursued.

    INTRUSION, from a script by L.D. Goffigan, sees “a young woman’s life begin to unravel shortly after moving to San Francisco, when she realizes she’s being pursued by a disturbed stalker. As the assaults and creepy incidents escalate she realizes that she has become the target of something far more sinister and horrifying.”

    It’ll be exciting to see what Bruckner will do here. Hopefully, he puts San Francisco, a popular destination in cinema history (BULLITT and VERTIGO, of course), to good use. 

    [Deadline]

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  • Charles Band uncovers original Wizard Video VHS Packaging, To sell

    by: Samuel Zimmerman on: 2013-02-07 18:11:33

    As his appearance in the SXSW documentary on the VHS
    phenomenon (REWIND THIS!) draws near, Full Moon Pictures’ Charles Band has gone
    clamshell crazy, unearthing a warehouse worth of original Wizard Video
    oversized VHS packaging for cult and obscure horror flicks. Beginning next
    week is a nine-month sale of said boxes for (and duped copies of) titles like
    DEMONIAC, HEADLESS EYES, ZOMBIE, I SPIT ON YOUR GRAVE, TRAUMA and much, much
    more.

    As the announcement tells it, over a span of 3-4 years,
    Wizard Video published eighty titles in the large-format boxes. Thirty-five years after the packaging’s
    popularity died out, Band and his excavation team uncovered the original big
    VHS boxes of thirty-six of these rare titles in mint condition, between two hundred
    to four hundred copies per title.

    I’ve bolded boxes, because in case of any confusion, the
    next piece of the release reads “Each box will be hand-numbered on the spine
    and autographed by Charles Band and will include an authentically duplicated
    VHS copy
    .” Further, and once again, “Beginning February 12th and for every
    month thereafter four of these 36 Wizard Video big box VHS cassettes will go on
    sale. They will contain the original program newly duplicated on VHS in a
    black clam shell which will be in the original box. Each original box will be
    numbered based on quantities found (IE x180 original boxes were found of RETURN
    OF THE ZOMBIES so therefore the numbers will start at 01/180, then 02/180 and
    all the way thru 180/180) and each box will be signed by Charles Band.”

    Whether $50 for a vintage VHS case and a newly duped
    cassette is worth it is up to you, the collector. I suspect many will
    appreciate and cherish the history and décor of such, but it’s best to be as clear as
    possible here. You can see Band’s history of Wizard Video and his outlining of the plan below. 

    February 12 sees RETURN OF THE ZOMBIES, TRAUMA, OASIS OF THE
    ZOMBIES and DEMONIAC up for grabs. In the weeks and months to come after, you’ll
    find FEAR, A VIRGIN AMONG THE LIVING DEAD, BLOOD CASTLE, SPACE VAMPIRES and
    PARASITE all available. You can find the entire list of films and dates at
    Wizard Video Collection

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