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  • Weird Words 2: “QUEENY’S LAST RUN: OR, PLACENTOPHAGY AGONISTES”

    The name Shawn Macomber may ring some dark bells: The journalist, writer, heavy-metal enthusiast and horror fan has seen his byline in a multitude of media. We’re more than a little grateful to have his eerie, arch Gothic tale “Queeny’s Last Run” as one of our ongoing Weird Words 2 finalists.

    Have a read, and prepare for warping…

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  • ,,

    Weird Words 2: “CREEPER”

    We’ve sifted through the staggering array of submissions for our Weird Words 2 short-horror-fiction contest, and a handful of eerie tales have stuck in our psyches. Over the next several weeks, we’ll run the cream of the creep here at Fangoria.com. Eventually, we’ll ask you, our readers, to vote, and three winners will be published in the pages of our iconic magazine.

    Let’s start with this matter-of-fact bit of fright…

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  • Honorees announced: Halloween Horror Nights 2010 Eyegore Awards

    Originally posted on 2010-09-20 19:24:07 by Allan Dart

    The opening night of Universal Studios’ Halloween Horror Nights is this Friday, and today the recipients of this year’s Eyegore Awards were announced. Find out who they are after the jump.

    The honorees include HOSTEL and CABIN FEVER director Eli Roth, PIRANHA 3D co-star Christopher Lloyd, THE DEVIL’S REJECTS’ Sid Haig and SAW 3D actresses Betsy Russell and Gina Holden. THE LOST BOYS’ Corey Feldman returns as host of the 2010 ceremony; presenters will include HALLOWEEN’s Rob and Sheri Moon Zombie, original TEXAS CHAINSAW MASSACRE director Tobe Hooper, TRUE BLOOD vampire Mariana Klaveno (pictured) and the SAW series’ Costas Mandylor.

    The Eyegore Awards will serve as the opening-night event at Halloween Horror Nights, which begins its 17-night run on Friday, September 24. Excerpts from the ceremony will be shown on the event’s website. Previous Eyegore Award recipients have included Alice Cooper, Patricia Arquette, Janet Leigh, Roger Corman, Jennifer Tilly, Joss Whedon, Rob and Sheri Moon Zombie, Karen Black, Clive Barker, Tobin Bell, Rick Baker, Julie Benz, Shawnee Smith, Tobe Hooper, Bill Moseley and Feldman.

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  • Living Dead Dolls: The Day of the Dead series

    Originally posted on 2010-09-20 18:52:12 by Allan Dart

    With Halloween just around the corner, Mezco’s latest set of Living Dead Dolls pays tribute to the Mexican holiday The Day of the Dead a.k.a. El Día de los Muertos.

    The Living Dead Dolls Series 20: Day of the Dead—Crimson and Black Limited Edition Variant Set and LDD Retro Halloween Set 2010 Full Set of 3 Bundle include a total of eight dolls. The former features five figures with Day of the Dead skull designs and exclusive crimson-and-black costumes, depicting traditional imagery with a Living Dead Dolls twist. Each doll comes in a signature coffin package with death certificate. Also included in this bundle are three retro Halloween-themed box sets that come with an old school-styled plastic mask, exclusive 10-inch doll and a coordinating T-shirt (XL only). The trio consists of three of the most popular Halloween Living Dead Dolls: Calavera—The Skull, Pumpkin—The Jack O’ Lantern and Gabriella—The Ghoul. (Miniature pumpkin pails not included)

    The limited set will ship in mid-October. For more information visit the official site.

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  • “TICKED-OFF TRANNIES” DVDetails revealed

    Originally posted on 2010-09-20 18:32:09 by

    We first broke the news here that TICKED-OFF TRANNIES WITH KNIVES, Israel Luna’s satirical gorefest that inflamed passions at the Tribeca Film Festival, was picked up for U.S. release by Breaking Glass Pictures. Now we’ve got the scoop on the DVDetails, and the cover art has been released as well.

    The movie, in which a gang of thugs brutalize a group of transgendered friends who later set out for deadly revenge against them, will play New York and Los Angeles theatrical dates in October ahead of the DVD release November 9. The disc will include the following special features:

    • Audio commentary by writer/director Luna and actors Willam Belli and Krystal Summers

    • Behind-the-scenes featurette

    • “Nacho & Chuey Show”

    • The Missing Reel: Chapter 4—“The Red Pen”

    • Bloopers

    The cover art seen here is tentative and may be changed slightly for the final release. See Breaking Glass’ official website here, and keep your eyes on Fangoria.com for future coverage of TICKED-OFF TRANNIES.

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  • Oscilloscope Laboratories nabs Evil Santa flick “RARE EXPORTS”

    Originally posted on 2010-09-20 18:24:52 by FANGORIA Staff

    Following in the footsteps of warped holiday treats like SILENT NIGHT, DEADLY NIGHT and BAD SANTA, New York’s Oscilloscope Laboratories has acquired all North American rights to Jalmari Helander’s RARE EXPORTS: A CHRISTMAS TALE, hot off the movie’s world premiere at the Toronto International Film Festival. The Finnish film has been described as a “re-imagining of the most classic of all childhood fantasies,” and “a darkly comic gem destined for cult status,” per the press announcement.

    RARE EXPORTS’ official synopsis reads: “On the eve of Christmas in northern Finland, an archeological dig unearths Santa Claus. This particular Santa, however, isn’t the one you want coming to town. When most of the town’s children go missing, Pietari and his father, a local hunter named Rauno, come into possession of the mythological being. Rauno’s clan of hunters attempts to cash in on the opportunity by selling Santa back to the misguided leader of the multinational corporation sponsoring the dig. What ensues is nothing short of a wildly humorous nightmare—a fantastically bizarre polemic on modern day morality.”

    Oscilloscope chief Adam Yauch said: “This is really a unique film, the filmmaking exceptional, Jalmari’s sense of timing, perfect. I’m tempted to say it’s like the Coen brothers meets THE GRINCH WHO STOLE CHRISTMAS, but RARE EXPORTS is so original in its feel and approach that I’ll refrain from such comparisons and simply say: gas up your snowmobiles, load your shotguns and smoke ’em if you got ’em—‘cause we intend to uncage this sucker in theaters for the holidays.”

    Yes, Oscilloscope plans on a December release for RARE EXPORTS: A CHRISTMAS TALE, and the movie makes its U.S. premiere at Austin’s Fantastic Fest this coming weekend.

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  • UK filmmakers hit the “PANIC BUTTON”

    Originally posted on 2010-09-20 18:06:02 by

    British writer/director Frazer Lee, creator of the Doug Bradley-starring short films RED LINE and ON EDGE, has now ventured into feature territory with his script for the currently lensing PANIC BUTTON. The first stills were released today, and you can see them below the jump.

    Directed by Chris Crow, who also helmed the upcoming survival shocker DEVIL’S BRIDGE, PANIC BUTTON stars Scarlett Alice Johnson, Michael Jibson, Jack Gordon, Elen Rhys and Joshua Richards. The story follows four young people who win a free trip to New York City from a social networking site—a vacation that requires them to take part in a new on-line game while flying to the Big Apple. Once they’re in the air, however, they are forced to play deadly games by an unseen captor, with no way to escape.

    If you’d like to join the leads on screen in PANIC BUTTON, you have a chance thanks to a video contest the filmmakers are holding. A sequence in the film will demonstrate how people of all ages and ethnicities connect and communicate on-line, and you’re invited to submit webcam videos of yourself at your home, office, wherever. Written consent is required; for more details, plus video and other images, click over to PANIC BUTTON’s official website. You can also find out about the movie at Facebook here.

    Other members of the PANIC BUTTON crew include producer John Shackleton and co-producer David Shillitoe (who also came up with the story), cinematographer Simon Poulter and editor Mark Talbot-Butler. Meanwhile, the new Lee-scripted short chiller SIMONE (directed by Jason “Joops” Fragale, about a young woman who wakes up after a night of partying and discovers the frightening truth about what happened), is currently available on unrated DVD with 85 minutes of extras here.

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  • Illustrating “FLICK”

    Originally posted on 2010-09-20 17:37:29 by Max Weinstein

    With zombie noir film fest fave FLICK steadily approaching its October 26 DVD release (see previous item here) from Peace Arch Entertainment, Fango had a few words—and some exclusive storyboards and illustrated panels from the film—with the man responsible for the film’s distinctive visual style, graphic artist and illustrator Alex Tomlinson. First seizing the attention of writer/director David Howard through his illustrative work featured in FORTEAN TIMES, the filmmakers asked Tomlinson to put together a series of designs, which evolved from some simple supplementary material to help pitch the project, to a full-fledged, self-contained comic book universe telling the story of Johnny “Flick” Taylor, the awkwardly shy introvert with a penchant for rockabilly and murder in 1960s Britain.

    On the spawning of the film’s visceral pulp comic style, Tomlinson recalls, “From my first meeting with David and [producer] Rik Hall, it was obvious we were all on the same wavelength from day one. When we met to discuss the comic book pages and transitions, we both said TALES FROM THE CRYPT at exactly the same time.”

    Tomlinson also notes that upon studying films like CREEPSHOW 2 extensively, his challenge remained how to produce his work in a similar way—for a fraction of the budget. While that influence remains surely prominent, the illustrator is quick to point out his own sensibility. “TALES FROM THE CRYPT was always in the back of my mind,” he says, “but I was very conscious of the need to make the comics look distinctly British. The whole idea of the protagonist being a ‘Teddy Boy’ in a rubbish little British car, rather than say a cool greaser in a chromed coupe was very idiosyncratically British and gave the whole concept a more endearing slightly cozier feel from the outset.”

    The birth of the storyboards used in FLICK began with director Howard’s own assembled tape of film clips that best demonstrated his inspiration. “I remember that he was very interested in the over-saturated color scheme of THE MAN WITH THE X-RAY EYES, after having previously made a documentary about its star Ray Milland,” Tomlinson reveals. “The compilation included a scene from Brian De Palma’s RAISING CAIN to illustrate a particular framing technique. There was also a graveyard scene from ‘SALEM’S LOT used to demonstrate the kind of atmosphere he wanted to recreate in our own graveyard scenes.”

    Rendering the storyboard images by building scale models of the sets populated with virtual 3-D actors, props and scenery—then arranging them according to realistic lighting and shadows—each storyboarded shot was rendered using camera setups that mirrored that of real world cinematography, inevitably presenting the world Johnny inhabits as a live action reflection of Tomlinson’s conceptual art that manifests itself as a work in the vein of a missing Frank Miller graphic novel. To fans of the film quick to make such stylistic comparisons, though, the artist admits jokingly, “I didn’t see SIN CITY until some time after I’d completed the storyboards. So any similarities you may detect are either flashes of RAIN MAN-like genius on my part, or more likely just coincidence.”

    Equally as potent in the film’s sense of aesthetic character is the role of music. After all, as FLICK’s anti-heroic mythology goes, Johnny’s gore-filled rampages can only be ignited by the nostalgia that the local rockabilly radio station provides. “David explained very early on that he wanted to show that Johnny’s POV was still stuck in the late ’50s or early ’60s, it was always referred to as ‘his ‘60s vision,’ so whenever we saw the world through his eyes, it was as if he was seeing everything and everyone as it was back in the ’60s,” Tomlinson explains. “David again used THE MAN WITH THE X-RAY EYES as an example of how to show two different POV in the same shot. So I was very conscious about making all the shots from Johnny’s point of view very jarring and distinct from the rest of the film and echoing that in the comic pages. There was a lot of obscure rockabilly stuff and quite a few ‘novelty’ horror songs on the CD, and I also felt the need to supplement this soundtrack with a lot of my own Cramps collection from time to time.”

    Tomlinson’s own humble roots would have him recognize much of the nature of his artistry, which certainly translates to a bold and unabashedly bloodied degree in FLICK’s more striking horror scenes. “My default setting is gore,” he says, “and the first test storyboards I produced were pretty full on. When the project first started, we weren’t sure how gory the final film would be. There was debate whether a film about a character with a flick knife would get a sensible certification [age rating] or if the then current climate of scare stories in the media about ‘Knife Crime’ would mean we would have to tone everything down.”

    Fango’s first leaking of a select few of these images would be among some of the displeasing original works that ultimately didn’t jibe with the ratings board. “I showed Johnny disemboweling a night watchman, whose intestines fall out and begin to cook on top of a three bar electric heater under the desk,” Tomlinson says. “Johnny then sticks his flick-knife up the man’s nostril and whisks his brain into a mush before slapping the top of his head like a soap dispenser and using the resultant goo to slick back his hair into a quiff. Not surprisingly this didn’t make it into the final shooting script; it became clear that a 15 certificate would be the best level to pitch the film.”

    But where we may not have gotten a taste of the undead grooming tutorial those clips intended, those with a knack for the off-center will still be able to get their darkly comic fix from FLICK. “I’m very proud that the tidal wave of blood which precedes Bev being ejected onto the pavement like a newborn is all still intact,” Tomlinson notes.

    Jumping off of FLICK as a hopeful showcase of his sensibilities, Tomlinson points out the eclectic span of his continued projects. “The thing I like about my job is the constant variety of the work,” he says. “Each commission is so different. When the entire planet was celebrating the dawn of the new millennium with fireworks parties and exciting Y2K sex, I was in the middle of a two month project, working 18 hour days, to produce hundreds of construction drawings and 3-D renders for a Lego instruction book.” Tomlinson then adds, “If somebody commissions me to do more horror genre stuff, then that’s what I’ll do, and I’ll probably have a lot of fun doing it.” Contrary to FLICK’s Brit-based pastiche, Tomlinson’s new horror collaboration—again with Howard and Hall—“is about as all-American as you can get,” the artist hints. The developing project, entitled THE SCRATCH ROOM (see art below), will see his first stab at a werewolf movie. You can find out more about Tomlinson here and read his illustration blog here.

    {jcomments on}

    Read more »
  • Illustrating “FLICK”

    Originally posted on 2010-09-20 17:35:33 by

    With zombie noir film fest fave FLICK steadily approaching its October 26 DVD release (see previous item here) from Peace Arch Entertainment, Fango had a few words—and some exclusive storyboards and illustrated panels from the film—with the man responsible for the film’s distinctive visual style, graphic artist and illustrator Alex Tomlinson. First seizing the attention of writer/director David Howard through his illustrative work featured in FORTEAN TIMES, the filmmakers asked Tomlinson to put together a series of designs, which evolved from some simple supplementary material to help pitch the project, to a full-fledged, self-contained comic book universe telling the story of Johnny “Flick” Taylor, the awkwardly shy introvert with a penchant for rockabilly and murder in 1960s Britain.

    On the spawning of the film’s visceral pulp comic style, Tomlinson recalls, “From my first meeting with David and [producer] Rik Hall, it was obvious we were all on the same wavelength from day one. When we met to discuss the comic book pages and transitions, we both said TALES FROM THE CRYPT at exactly the same time.”

     

     

    Tomlinson also notes that upon studying films like CREEPSHOW 2 extensively, his challenge remained how to produce his work in a similar way—for a fraction of the budget. While that influence remains surely prominent, the illustrator is quick to point out his own sensibility. “TALES FROM THE CRYPT was always in the back of my mind,” he says, “but I was very conscious of the need to make the comics look distinctly British. The whole idea of the protagonist being a ‘Teddy Boy’ in a rubbish little British car, rather than say a cool greaser in a chromed coupe was very idiosyncratically British and gave the whole concept a more endearing slightly cozier feel from the outset.”

     

     

    The birth of the storyboards used in FLICK began with director Howard’s own assembled tape of film clips that best demonstrated his inspiration. “I remember that he was very interested in the over-saturated color scheme of THE MAN WITH THE X-RAY EYES, after having previously made a documentary about its star Ray Milland,” Tomlinson reveals. “The compilation included a scene from Brian De Palma’s RAISING CAIN to illustrate a particular framing technique. There was also a graveyard scene from ‘SALEM’S LOT used to demonstrate the kind of atmosphere he wanted to recreate in our own graveyard scenes.”

     

    Rendering the storyboard images by building scale models of the sets populated with virtual 3-D actors, props and scenery—then arranging them according to realistic lighting and shadows—each storyboarded shot was rendered using camera setups that mirrored that of real world cinematography, inevitably presenting the world Johnny inhabits as a live action reflection of Tomlinson’s conceptual art that manifests itself as a work in the vein of a missing Frank Miller graphic novel. To fans of the film quick to make such stylistic comparisons, though, the artist admits jokingly, “I didn’t see SIN CITY until some time after I’d completed the storyboards. So any similarities you may detect are either flashes of RAIN MAN-like genius on my part, or more likely just coincidence.”

     

    Equally as potent in the film’s sense of aesthetic character is the role of music. After all, as FLICK’s anti-heroic mythology goes, Johnny’s gore-filled rampages can only be ignited by the nostalgia that the local rockabilly radio station provides. “David explained very early on that he wanted to show that Johnny’s POV was still stuck in the late ’50s or early ’60s, it was always referred to as ‘his ‘60s vision,’ so whenever we saw the world through his eyes, it was as if he was seeing everything and everyone as it was back in the ’60s,” Tomlinson explains. “David again used THE MAN WITH THE X-RAY EYES as an example of how to show two different POV in the same shot. So I was very conscious about making all the shots from Johnny’s point of view very jarring and distinct from the rest of the film and echoing that in the comic pages. There was a lot of obscure rockabilly stuff and quite a few ‘novelty’ horror songs on the CD, and I also felt the need to supplement this soundtrack with a lot of my own Cramps collection from time to time.”

     

    Tomlinson’s own humble roots would have him recognize much of the nature of his artistry, which certainly translates to a bold and unabashedly bloodied degree in FLICK’s more striking horror scenes. “My default setting is gore,” he says, “and the first test storyboards I produced were pretty full on. When the project first started, we weren’t sure how gory the final film would be. There was debate whether a film about a character with a flick knife would get a sensible certification [age rating] or if the then current climate of scare stories in the media about ‘Knife Crime’ would mean we would have to tone everything down.”

     

    Fango’s first leaking of a select few of these images would be among some of the displeasing original works that ultimately didn’t jibe with the ratings board. “I showed Johnny disemboweling a night watchman, whose intestines fall out and begin to cook on top of a three bar electric heater under the desk,” Tomlinson says. “Johnny then sticks his flick-knife up the man’s nostril and whisks his brain into a mush before slapping the top of his head like a soap dispenser and using the resultant goo to slick back his hair into a quiff. Not surprisingly this didn’t make it into the final shooting script; it became clear that a 15 certificate would be the best level to pitch the film.”

     

    But where we may not have gotten a taste of the undead grooming tutorial those clips intended, those with a knack for the off-center will still be able to get their darkly comic fix from FLICK. “I’m very proud that the tidal wave of blood which precedes Bev being ejected onto the pavement like a newborn is all still intact,” Tomlinson notes.

     

    Jumping off of FLICK as a hopeful showcase of his sensibilities, Tomlinson points out the eclectic span of his continued projects. “The thing I like about my job is the constant variety of the work,” he says. “Each commission is so different. When the entire planet was celebrating the dawn of the new millennium with fireworks parties and exciting Y2K sex, I was in the middle of a two month project, working 18 hour days, to produce hundreds of construction drawings and 3-D renders for a Lego instruction book.” Tomlinson then adds, “If somebody commissions me to do more horror genre stuff, then that’s what I’ll do, and I’ll probably have a lot of fun doing it.” Contrary to FLICK’s Brit-based pastiche, Tomlinson’s new horror collaboration—again with Howard and Hall—“is about as all-American as you can get,” the artist hints. The developing project, entitled THE SCRATCH ROOM (see art below), will see his first stab at a werewolf movie. You can find out more about Tomlinson here http://alex-tomlinson.com/ and read his illustration blog here http://alextheillustrator.blogspot.com/

    Read more »
  • “SANTA SANGRE” to make U.S. DVD/Blu-ray debut; art and details

    Originally posted on 2010-09-20 17:14:24 by

    One of the most-desired titles by Stateside disc collectors has long been Alejandro Jodorowsky’s shocking and fascinating 1989 feature SANTA SANGRE. Now, Fango has received word that the acclaimed hallucinatory fantasy-chiller will make its American DVD/Blu-ray debut early next year.

    Severin Films will release the discs January 25, 2011, derived from a restored print of the uncut European version. There will also be more than five hours of extras on the two-DVD set and Blu-ray, accompanying the saga of a young man, once a circus performer with his family, who escapes from an asylum and helps his armless mother get murderous revenge. While final details have yet to be confirmed, the supplements currently slated include:

    • Audio commentary by Jodorowsky

    • Deleted scenes

    • Multiple documentaries

    • New on-camera interviews with the majority of the film’s cast and crew

    • Domestic and international trailers

    • Coverage of Jodorowsky’s forthcoming NYC appearances

    The latter includes the director’s first-ever American retrospective, titled “Blood Into Gold: The Cinematic Alchemy of Alejandro Jodorowsky,” which takes place this Thursday, September 23-Friday, October 8 at New York City’s Museum of Arts and Design (2 Columbus Circle). Jodorowsky, whose classic films also include EL TOPO and THE HOLY MOUNTAIN, will be in attendance to conduct a rare master class on his films and philosophy; go here for more details.

    “SANTA SANGRE is a landmark acquisition for us,” says Severin co-founder and CEO David Gregory. “Jodorowsky is one of the few true visionaries of cinema, and the opportunity to bring his modern masterpiece back to America is a genuine honor. Our restoration of the film, combined with an unprecedented collection of bonus features, will now introduce this brilliant film to a whole new audience.” Look for final details on the SANTA SANGRE disc contents shortly.

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  • A “PRIMAL” preview

    Originally posted on 2010-09-20 17:04:57 by Allan Dart

    One of the films playing at Fantastic Fest, PRIMAL will be available this Wednesday, September 22, via IFC Midnight. Check out the trailer after the break.

    Shock Till You Drop posted the preview for the Australian film written and directed by Josh Reed. The story concerns a group of friends on a trip to the Outback, where one becomes infected after skinnydipping in a waterhole and reverts to a predatory state—with her condition soon spreading to the others. 

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