• Exploring “HAUNTED LEGENDS”

    Originally posted on 2010-09-13 18:50:21 by Tony Timpone

    Horror anthologies may be a dime a dozen, but HAUNTED LEGENDS (a Tor hardcover debuting this week) looks to stand out from the pack. The collection was co-edited by the busy Ellen Datlow (pictured), the 2010 Hugo Award Best Editor Short Form winner, who has assembled 20 killer writers, including THE NAMELESS’ Ramsey Campbell, BUBBA HO-TEP’s Joe R. Lansdale, Kit Reed, IN SILENT GRAVES’ Gary A. Braunbeck, THRESHOLD’s Caitlin R. Kiernan and Kaaron Warren, as well as some of the hottest new talents in the field. Each writer wrestled with HAUNTED LEGENDS’ pretty unique theme, the make-or-break for omnibuses such as this: retell a classic ghost story or urban legend from around the world.

    “I’ve always liked the ‘true’ ghost-story anthologies you can pick up in any gift shop or tourist store—small towns, big cities, even national parks have their own dark histories,” says HAUNTED LEGENDS co-editor Nick Mamatas. “At the same time, I couldn’t help but be disappointed by most of the books I’d buy, since the ghost stories were only rarely compiled by competent folklorists or writers. Usually, it was just the local nutcase writing down every drunken story he’d ever heard. I thought to myself, ‘What would one of these books be like if real writers wrote the stories?’ And then, a couple of years later, I had the opportunity to find out.”

    Datlow and Mamatas assembled quite the stable of “real writers.” “We have plenty of well-known authors of subtle dark fiction, such as Ramsey Campbell, Laird Barron and Gary A. Braunbeck,” Mamatas says. “But we also have stories from writers known for their experimental fiction, like Lily Hoang, new writers such as John Mantooth and people known for other genres—fantasists Erzebet YellowBoy and Catherynne M. Valente, for example. To make sure we got the best stories possible, we allowed anyone to submit to the anthology—which is pretty unusual—and we also made a point of asking for stories from places other than the U.S. and UK. We have tales from Japan, Vietnam, India, Russia, Mexico and Australia. We took the regional ghost story and made the world our region.”

    This approach lent breadth and variety to the tales in HAUNTED LEGENDS. “Although the majority of the stories are quite dark, several are bittersweet lamentations of loss and pain, and at least one is pretty funny,” says Datlow, who has received the World Fantasy Award nine times, both the Bram Stoker and International Horror Guild Awards twice, four Hugo Awards, four Locus Awards and two Shirley Jackson Awards. “There are also many different types of stories. Not every ghost story involves the spirit of a dead person; we have cryptozoological horrors, moral panics and even a vampire tale of sorts. The role of the supernatural also varies; in one, a spirit is a metaphor for drug use, in another it stands for the problems of the immigrant experience, and some of the ghosts and creatures are just wild and dangerous, as any late night can be.”

    Some of the real-life inspirations will strike a familiar chord with readers. “We have stories about Spring Heeled Jack, La Llorona, the haunted hitchhiker—three very different takes from different parts of the world—a haunting in the Pine Barrens of New Jersey and a real-life panic surrounding Chucky, the monstrous doll of the movies, and his influence on young children,” says Datlow. None other than Campbell penned the CHILD’S PLAY-inspired “Chucky Comes to Liverpool.” “Ramsey’s contribution captures the voice and secret world of children perfectly, in a story that riffs on the real-life murder of a toddler by two 10-year-old boys and the media scapegoating that followed.”

    Outlining some of the other contributions to HAUNTED LEGENDS, Datlow continues, “Stephen Dedman’s ‘For Those in Peril on the Sea’ mocks the surreality of reality TV shows in his exploration of Australia’s jinxed ship Alkimos. Joe R. Lansdale’s ‘The Folding Man’ uses his familiarity with eastern Texas to dish up a terrifying tale…about nuns! Creepy, creepy nuns. And Caitlin R. Kiernan’s ‘As Red as Red’ has a connection not only to the vampiric and shapeshifting legends of her home state of Rhode Island, but is subtly tied in to her award-nominated novel THE RED TREE.”

    With Datlow having edited dozens of collections over the last 25 years and served as a fiction editor at Omni, and Mamatas an author and co-editor of the fiction magazine Clarkesworld, the duo had potential writers lining up around the block to be part of HAUNTED LEGENDS. The collaborators then divided up the workload. “Nick read over 200 submissions during our two-week open reading period,” says Datlow. “He passed about 25 of those submissions on to me, and we went back and forth on about six of them and acquired four. We both read all the submissions from writers we solicited. And then we decided which stories to buy. If Nick was more familiar with the writer, he edited the story. If I was, I’d edit it. I did a final line edit before we handed the book in to our publisher, and Nick wrote the introduction. We decided on the order of the stories together; we chose Richard Bowes’ ‘Knickerbocker Holiday’ to lead off the anthology because it was a powerful story straightforwardly told, and ended with the Lansdale to make sure that no reader would be able to sleep the night he or she finished the book!”

    For the last few years, vampires have been all the literary rage; then zombies became “the new vampires” in terms of popularity (cripes, even IT’S BEGINNING TO LOOK A LOT LIKE ZOMBIES became a New York Times Best Seller!). Will supernatural spooks in print emerge as the next hot thing? “Probably not,” says Mamatas. “Ghost stories are something else altogether—rather than coming and going in the face of trends, like vampires do when sexual politics are important, or like zombies when the economy is the most pressing issue, ghosts are perennial. The dead are always with us, and so are regrets, nostalgia for the past and plain old dread of the invisible world. I don’t know if ghost stories and other local legends of monsters or haunted places will ever be the “next big thing,” but it will always be the “old, old thing in the back of our minds.”

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  • New “HATCHET II” Poster

    Originally posted on 2010-09-13 16:58:07 by Samuel Zimmerman

    Dark Sky has released a brand new one-sheet for Adam Green’s sequel to his much-loved slasher HATCHET. Hit the jump to check it out!

    I like that they took a bit of a departure from the “hatchets on black” posters for the below image. It’s a cool little approach.

    HATCHET II is hitting AMC theaters October 1 unrated and uncut. The list of participating theaters hasn’t been announced just yet, but expect word soon. The film sees Danielle Harris now essaying the first’s female protagonist Marybeth, as she and Reverend Zombie (Tony Todd, returning) go after the swamp dwelling Victor Crowley (Kane Hodder)

    For more on HATCHET II, pick up FANGORIA #297 (on sale now) for part one of our interview with writer/director Green and exclusive new Crowley pics. And click here to see what Green had to say about his next project, KILLER PIZZA. 

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  • “LET ME IN” (Film Review)

    Originally posted on 2010-09-13 16:11:07 by

    Not since THE RING have I approached a remake with as much trepidation as I did LET ME IN. Both movies were inspired by standout foreign features I first caught at early festival screenings, which added the thrill of discovery to the excitement generated by the films themselves. Unlike RINGU, however, LET THE RIGHT ONE IN has had plenty of Stateside exposure prior to its redux’s release (October 1 from Overture Films, with a premiere tonight at the Toronto Film Festival and an opening-night screening at Austin, TX’s Fantastic Fest later this month), meaning that for U.S. audiences, writer/director Matt Reeves has a lot to live up to.

    The good news is that, for the most part, Reeves has crafted an honorable and often moving Americanization of Tomas Alfredson and John Ajvide Lindqvist’s standout Swedish vampire drama, which functions as much as a dark coming-of-age story as a horror film. There are the inevitable concessions to Hollywood expectations and conventions, beginning with the very beginning: Where Alfredson and John Ajvide Lindqvist gently and quietly eased us into the story, Reeves opens with one of the Big Scenes to grab the audience’s attention, then flashes back to show how events led to that point.

    The basic plot has been largely and wisely unchanged from the original: Owen (THE ROAD’s Kodi Smit-McPhee) is a lonely and somewhat disturbed 12-year-old living in a snowy mountain suburb, dealing with an often-absent single mom at home and vicious bullies at school. He’s given to acting out revenge fantasies at night in the courtyard of his apartment complex, and that’s where he is one evening when he first meets Abby (Chloë Grace Moretz), a newcomer to the apartment next door who’s also 12…“more or less,” as she puts it. At first resistant to befriending Owen, Abby also seems odd—she smells kind of funny and walks barefoot in the snow, and Owen overhears strange sounds and violent arguments from the other side of their common bedroom wall.

    But a bond slowly forms between the two—and between them and the audience, thanks to the remarkable performances by the young leads. Owen could be seen as a budding sociopath, but Smit-McPhee invests him with a sensitivity and depth of feeling that make it clear his emotional disturbance is a product of his environment, rendering Owen both a tragic and sympathetic figure. Moretz’s Abby is tragic too, but in a different way—as we soon learn, she needs to feed on blood to survive, and depends on a middle-aged man she lives with to provide it for her. Played very well by Richard Jenkins, he’s billed as The Father, and that’s at first who he appears to be…but anyone who saw the Swedish film knows that his and Abby’s relationship is more complicated than that.

    While keeping things from becoming prurient or inappropriate given the protagonists’ ages, Reeves explores the story’s undercurrents of sexuality in a little more depth than Alfredson and Lindqvist did in their film (although certainly not to the extent that the latter did in his original novel). Owen’s pre-adolescent curiosity about sex, tied in with his voyeuristic spying on his neighbors, has replaced Oskar’s fascination with serial killers in the previous movie, and a new moment between Abby and The Father (who expresses jealousy over her friendship with Owen) strongly suggests a closer relationship in their distant past.

    A quick shot explicitly revealing the gender identity of Eli, the vampire girl in LET THE RIGHT ONE IN, is unsurprisingly not reprised in LET ME IN. And while Moretz’s Abby is more conventionally pretty, lacking Eli’s otherworldly visage, the young actress (a world away from her KICK-ASS characterization) fully invests her with both sorrow about her existence and the hope that Owen might let a bit of light into it. She’s also very convincing when Abby plays the predator, albeit a reluctant one—which makes it a tad disappointing that Reeves felt the need to trick up her attack and bloodlust scenes with obvious CGI acrobatics and white-eyed ghoul contact lenses.

    Elsewhere, there are shots and lines of dialogue that unnecessarily underline points that already speak for themselves just fine, and the score by gifted composer Michael Giacchino, while quite good in and of itself, is laid over a few of Abby and Owen’s quieter moments together that don’t need the accompaniment. At many other times, however, Reeves and cinematographer Greig Fraser’s imagemaking is quite evocative—the way they use focus to isolate Owen and Abby in their environments, and frame Owen’s mom (Cara Buono) half out of shots. They also catch rich, bleak atmosphere on the New Mexico locations, and Reeves doesn’t flinch when it comes to presenting the bloodshed wrought by Abby and The Father.

    And speaking of violence, anyone who saw and loved LET THE RIGHT ONE IN is sure to be wondering if That Shot is recreated in the new film. (If you’re a RIGHT ONE fan, you know the one I’m talking about.) Without giving too much away, it can be said that the scene is still present, and staged in a similar way, but presented differently. Pretty effectively too, and it’s probably for the best that Reeves didn’t simply ape Alfredson’s long-take version. Besides, the director stages his own fresh single-shot scene of mayhem earlier in LET ME IN, and it packs a helluva visceral punch.

    Personally, the bit I miss the most from RIGHT ONE is the cat scene (fans will remember that one too), part of a lengthy subplot involving a group of suspicious locals that is nowhere to be seen in LET ME IN; instead, it’s a solo cop (Elias Koteas) who looks into the dead bodies left in Abby’s wake. Again, it’s more Hollywood-conventional than in the previous picture, but again, Reeves makes it work. Those who love LET THE RIGHT ONE IN will appreciate how, for all the cosmetic changes, Reeves has kept its beating and bloody heart intact, while newcomers to this story will simply enjoy a horror film with a lot more integrity and guts than most coming out of the mainstream these days.

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  • “SCREAM 4″ cast additions, new behind-the-scenes photo

    Originally posted on 2010-09-13 15:32:27 by Samuel Zimmerman

    Production on SCREAM 4 is winding down, but it seems they’re still pulling in potential victims for Ghostface. Hit the jump to find out the latest members of the cast and see a bloody new image from the set!

    The Hollywood Reporter announced that FRIDAY NIGHT LIGHTS actress Aimee Teegarden (pictured, left) has joined the large ensemble already in the film, as has Britt Robertson (says Zap2It), of the television drama LIFE UNEXPECTED. Returning cast members Neve Campbell, David Arquette and Courtney Cox, as well as newcomers to the franchise Emma Roberts, Hayden Panetierre, Adam Brody, Mary McDonnell and Anthony Anderson, will accompany the two actresses. Cameos from PULSE’s Kristen Bell and TRUE BLOOD’s Anna Paquin have also been confirmed. 

    Plot is being kept under wraps but the film will mark a return to Woodsboro and see the slasher Ghostface wreak havoc on Sydney, Dewey and Gale, as well as a new generation of screamers. 

    Excitingly, Wes Craven and Kevin Williamson have returned to direct and write, respectively, with SCREAM 3 writer Ehren Kruger asked to take a pass on the script.  Just this weekend, Craven tweeted the crimson-splattered image below from the set, possibly a warning of the hazards of white couches? 

    SCREAM 4 hits April 15, 2011. For more on the film, keep an eye on Fango as news comes in. In the meantime, Craven’s new film, MY SOUL TO TAKE (see preview in Fango #298, on sale next month), releases October 8 and to get excited for both, you can take a look back at some of his past achievements in my weekly series on the director. Click here to check out last week’s installment on THE SERPENT AND THE RAINBOW. 

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  • Teaser invites you to “MY SUPER PSYCHO SWEET 16: PART 2”

    Originally posted on 2010-09-13 13:44:29 by

    Last year, MTV took a stab at the slasher genre with MY SUPER PSYCHO SWEET 16 (pictured), and enough viewers apparently attended that a sequel is coming next month, once again directed by THE SIGNAL’s Jacob Gentry. Jump past the jump for a look at a teaser trailer.

    MTV.com, of course, debuted the preview. MY SUPER PSYCHO SWEET 16: PART 2 picks up the story of Skye Rotter (Lauren McKnight), daughter of a madman who committed gruesome murders at a Rollerdome and returned for more mayhem years later when the place was reopened for a rich teen’s 16th birthday party. Co-stars Chris Zylka, Matt Angel and Julianna Guill also return, as do scripters Jed Elinoff and Scott Alan Thomas; new to the ensemble are THE TWILIGHT SAGA: ECLIPSE’s Kirsten Prout, Stella Maeve, Myndy Crist and THE VAMPIRE DIARIES’ Robert Pralgo. MY SUPER PSYCHO SWEET 16: PART 2 premieres Wednesday, October 22 at 10 p.m./9 p.m. Central.


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  • Christian Slater gets some “PLAYBACK”

    Originally posted on 2010-09-13 13:07:25 by

    Actor Christian Slater is best-remembered by many genre fans for getting payback in HEATHERS, and now he’s involved in PLAYBACK, a currently lensing independent horror film.

    Variety reports that Slater is playing a malevolent cop in the movie, written and being directed by actor-turned-filmmaker Michael A. Nickles (whose credits include the revenge chiller XII) in Grand Rapids, MI. The story concerns a group of high-schoolers who uncover an evil presence that has afflicted their town in the past and begins possessing them via video playback, with Slater’s evil officer Frank Lyons playing a key role in revealing it. The cast also includes Johnny Pacar, Toby Hemingway, Jonathan Keltz, Alessandra Torresani, Ambyr Childers, Jennifer Missoni, Lisa Todd, BUFFY THE VAMPIRE SLAYER’s Mark Metcalf and Daryl “Chill” Mitchell, with John M. Bennett and Lawrence Robbins producing.

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  • Magnet goes to “THE DEVIL,” grabs Korean chiller

    Originally posted on 2010-09-16 03:47:55 by

    Just a day after the announcement that it had acquired the killer-boar opus CHAWZ, Magnet Releasing, the genre arm of Magnolia Pictures, has picked up another Korean genre film. The company bought North American rights to I SAW THE DEVIL, which debuted this week at the Toronto International Film Festival.

    Magnet plans to release the film in Stateside theaters in the first quarter of 2011. Directed by A TALE OF TWO SISTERS’ Kim Ji-woon, I SAW THE DEVIL stars Lee Byung-hun (whose credits range from THREE…EXTREMES to G.I. JOE: THE RISE OF COBRA) as a special agent who goes on the hunt for the psychopathic serial killer who murdered his pregnant wife. “I SAW THE DEVIL is one of the most riveting and unrelenting films I’ve ever seen. It is an undisputable masterpiece,” Magnet’s Tom Quinn says. “Unparalleled in its brutality, Kim Jee-woon deftly takes the serial killer thriller to new, profoundly disturbing heights. It’s hard to imagine curating a genre label that didn’t include this remarkable achievement.” OLDBOY’s Choi Min-sik co-stars as the villain; check out the trailer (sorry, no subtitles) below.

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  • “RESIDENT EVIL: AFTERLIFE” weekend box-office numbers are in *UPDATED*

    Originally posted on 2010-09-12 20:15:28 by

    Final figures have been announced…

    As previously predicted (and reported here), RESIDENT EVIL: AFTERLIFE has both topped the box office in its first weekend and had a record opening for the franchise—bolstered by higher-priced 3-D tickets, of course.

    Various sources are reporting that Paul W.S. Anderson’s return to the series’ director’s chair took in $26.65 million in its first three days. That’s good for a per-site average of $8,320, and Screen Gems’ third-biggest opening ever after DEAR JOHN and THE EXORCISM OF EMILY ROSE, which both debuted with just north of $30 million. AFTERLIFE also opened in 35 international territories for a solid $46.2 million; you can see the rundown of previous EVIL grosses at the item linked above. Speaking of exorcisms, Lionsgate’s THE LAST EXORCISM took in an estimated $3.3 million in its third weekend for a total so far of about $38.1 million, while PIRANHA 3D sank to $700,750 in its fourth frame for a cume of $24.3 million.

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  • “THE KILLING OF JACOB MARR”: Update, new photos, screening info

    Originally posted on 2010-09-12 16:50:36 by

    We’ve been closely following the progress of indie filmmaker Brad Rego’s fright feature THE KILLING OF JACOB MARR (see our last item here), and now the movie’s finished and ready to be unveiled. Rego gave us some fresh thoughts on the movie, along with a couple of new exclusive pics and info about its first sneak preview.

    THE KILLING OF JACOB MARR is about a group of vacationers who make the mistake of staying in a cabin where the murderous title character is lurking, 20 years after the horrible deaths of his parents. “I was really happy with the time and effort everybody put in to make it all come together,” he tells Fango, “and I’m very excited about the way the movie turned out. One of the things we tried to accomplish was to focus more on the tension and atmosphere instead of just the hack-and-slash element. So in general, it’s a slower-moving film by design, but we wanted something that was just as entertaining when there isn’t a ton of blood on the screen as when there is—to have characters that the audience will care for and want to follow around for an hour and 47 minutes.

    “That’s the type of horror movie I love,” he continues, “and we really wanted to make sure this one translated to the screen that way. I mean, it’s tough for me to tell now, as I’ve seen the movie hundreds of times, but I really feel everyone did a great job in bringing that element out. I believe it has a good feel to it, and there are definitely some tense moments. Hopefully, audiences will feel the same way. That’s what makes a sneak preview in New York City so exciting.”

    That screening takes place Friday, October 1 at 8 p.m. at Anthology Film Archives (32 2nd Avenue), with a Q&A to follow. While it’s mostly intended for cast, crew and their families and friends, a small number of tickets are being made available to the general public. They can be purchased on-line for $7 at the movie’s official website, where you can also find info on follow-up showings in Oneonta, NY, Jacksonville, FL and at Austin, TX’s Alamo Drafthouse. “The exciting part,” Rego says, “is this will be the first time an audience bigger then a festival screening room will get to see the film. There’s nothing like experiencing a horror movie in a theater, and as a director, I love having the ability to truly view all of our hard work anew through the audience’s eyes. That’s something that can’t happen with DVD or on-line.” Have a look at the trailer (with a bit of non-work-safe language) below, and see THE KILLING OF JACOB MARR’s Facebook page here.

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  • Fango Flashback: “PSYCHO II”

    Originally posted on 2010-09-12 16:40:07 by Christine Hadden

    In the early ’80s, sequelmania hit. Everyone was doing it: HALLOWEEN, FRIDAY THE 13TH, even JAWS stepped onto the sequel train, so it should have come as no surprise when PSYCHO II was announced. That said, it was certainly one of the longest waits in film history for a follow-up—especially considering they were using the same lead actor.

    Directed by Richard Franklin and written by Tom Holland, PSYCHO II (1983) picks up 22 years after the 1960 Alfred Hitchcock classic. Undertaking the enormous task of crafting a sequel to one of the horror genre’s greatest landmarks must have been quite intimidating to the filmmakers, but to be honest, it truly is a credible film that is often overlooked when worthy horror series are discussed.

    Norman Bates (the spot-on Anthony Perkins, reprising his legendary role) has been institutionalized for the murder of not only his mother but the lovely Marion Crane among others. He has served his term and is ready to face society again. When he gets a job at a diner, he meets a young female co-worker (Meg Tilly) with boyfriend troubles and invites her to stay at his house with him and his…memories. Needless to say, Norman is trying hard to deal with not only his past, but his infamous reputation as well.

    The heart of the film is Norman’s attempt at a return to reality and his apparent descent back into madness. It’s not a film that goes outside the box, but a return to the scenario that was such a success the first time around. After all, hadn’t we all been wondering what Norman and Mother had been up to? Didn’t we want to see the foreboding house on the hill and hear those screeching strings again?

    The original PSYCHO is such an untouchable classic (as is obvious from Gus Van Sant’s embarrassing and unnecessary shot-by-shot remake in 1998) that it was difficult to imagine even writing an adequate follow-up, let alone pulling it off—despite the formidable Perkins returning in all his quirky, neurotic glory. But critics tend to agree that PSYCHO II was an impressive return to the Bates Motel, and two more sequels resulted from its own strong audience reception. The film captures quite well the feel of the anxious moments we remember from the original, with Norman as big a nervous Nellie as ever. Backed by a fantastic score by the late Jerry Goldsmith and utilizing the talents of such talented supporting actors as Tilly, Dennis Franz and Robert Loggia, it’s a film that deserves to be seen and appreciated on its own merits.

    PSYCHO II will soon get its due thanks to the documentary THE PSYCHO LEGACY, coming on DVD October 19 from Shout! Factory. Robert V. Galluzzo’s 90-minute labor of love (with three hours of extra bonus material in the two-disc set) takes a long hard look at the entire PSYCHO series via new interviews, clips, archival material and more. Pick up Fango #298, on sale in October, for more on LEGACY and an interview with PSYCHO II producer Hilton A. Green.

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  • Director talks “AMHURST” chiller; DVD release set

    Originally posted on 2010-09-12 16:30:44 by

    Director Rocky Constanzo, whose credits include the 2006 DVD release HALLOWED, sent along some comments on his new horror film AMHURST, to go with the announcement that it’ll be hitting DVD in October.

    Written by Lisa Costanzo, the LifeLine Entertainment production stars Amy Tiehel as Rebecca, a woman who returns to her childhood home after the death of her abusive grandfather. It’s not long before strange things start happening, and Rebecca begins suffering nightmares about her missing twin sister. The cast also includes Stephanie Hullar, Alec Hogan and Jess Buschini.

    “AMHURST is my fourth feature,” Costanzo tells Fango. “I’m a big fan of horror films and always wanted to make one of my own, which I finally did with HALLOWED in 2005. The budget was incredibly small, but it did fairly well on DVD and sort of jumpstarted things for me. AMHURST is not a slasher-style film; it’s more of a classic thriller. There are deaths and gore, albeit minor, and it’s suspenseful at times, especially the climax, but slasher fans might not dig it since there isn’t a guy in a mask ripping off heads in every scene. We might do something more like that on the next film.

    “The music is definitely a highlight,” he adds. “I worked closely with my composer, Rob Gokee, for three months, and between the two of us—mostly him—we came up with a very haunting score. All in all, I believe AMHURST is a strong film that will do well for us.”

    The DVD, to be released October 19 by Costanzo’s Hourglass Pictures and Passion River Films, will present the movie in widescreen with Dolby Digital sound, plus:

    • Audio commentary by Rocky and Lisa Costanzo

    • “Beyond the Boundaries” documentary including interviews, deleted scenes and outtakes


    The first 1,000 units will be Unrated Limited Premiere Editions with alternate artwork on an O-card; retail price is $22.98. See the movie’s trailer below and its Facebook page here.

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    Originally posted on 2010-09-12 16:26:20 by

    Director Richard W. Haines, a veteran of Troma releases like CLASS OF NUKE ’EM HIGH and SPLATTER UNIVERSITY, now wants to reveal WHAT REALLY FRIGHTENS YOU? in his latest chiller. The movie hits DVD October 19, and Haines gave us a little info on the movie and its accompanying features.

    WHAT REALLY FRIGHTENS YOU? centers on a genre-fanzine writer who makes the titular query of a trio of New Yorkers; after he publishes the results, their worst fears begin coming to life. “The film was photographed in 35mm, and we made the digital master directly from the negative reversing and color correction, so it’s quite sharp and vibrant,” Haines tells Fango. “We tried to simulate the Technicolor look of a Hammer horror film, as well as do some experimental lighting transitions. Brian Spears and Pete Gerner [whose credits include I SELL THE DEAD and the upcoming STAKE LAND] did the special effects, utilizing latex creatures, not CGI.

    “The final release version will include audio commentary and a slide show,” Haines adds; Celebrity Video Distribution is issuing the DVD. WHAT REALLY FRIGHTENS YOU?’s cast includes Jennifer Sorika, Postell Pringle, Ian Tomaschik, Patrick Flynne, Chris Keveney and Rose Sezniak; you can see the trailer below.

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