• “WHO” is this?

    Originally posted on 2010-09-02 15:04:14 by Allan Dart

    It’s Doctor Who himself, David Tennant, as Criss Angel-type Las Vegas magician Peter Vincent in Craig Gillispie’s FRIGHT NIGHT remake. Take a closer look at the image after the collective groan…

    Hitfix posted the image, which shows Tennant in a publicity banner for his character Peter Vincent—and looks like a complete departure from the original horror host so memorably played by Roddy McDowall. In addition to Tennant, the FRIGHT NIGHT redux stars Anton Yelchin as Charley, Colin Farrell as Jerry Dandrige and Christopher Mintz-Plasse as “Evil” Ed Thompson.

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  • Death gets a main target in “5NAL DESTINATION”

    Originally posted on 2010-09-02 14:18:33 by Samuel Zimmerman

    A host of casting news has come out this week regarding the fifth installment of the FINAL DESTINATION series and now its leading lady has been named. Hit the jump to find out who!

    Emma Bell, last seen in FROZEN and about to be broadcast on televisions everywhere in the highly anticipated THE WALKING DEAD has been cast as the protagonist in the sequel, according to Arrow in the Head. She joins a returning Tony Todd and David Koechner (Champ from ANCHORMAN!). Not much is known about the film just yet, except for the fact that it has an amazing title. 

    You can get acquainted with Bell when FROZEN hits DVD and Blu-Ray September 28 and THE WALKING DEAD premieres on AMC Halloween night. 

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  • “DORIAN GRAY” (DVD/Blu-ray Review)

    Originally posted on 2010-09-01 19:44:48 by Bekah McKendry

    Rarely does a film make me wish I had paid more attention in high school. I read Oscar Wilde’s THE PICTURE OF DORIAN GRAY in 10th grade—well, kind of read it. As memory serves, I skimmed it and relied heavily on CliffsNotes for quizzes. However, upon first viewing this latest screen adaptation (on DVD and Blu-ray from E1 Entertainment), I was compelled to get a copy of the book and read it once again, this time paying attention. I then watched DORIAN GRAY (yeah, the filmmakers dropped “the picture”) a second time, feeling far more informed. But not only did the film influence me to revisit the source material, it stands up on its own as a fine movie.

    THE PICTURE OF DORIAN GRAY, which the notorious Wilde wrote in 1890, was often said to be a literary representation of Wilde’s own life—a struggle between beauty and reality, between influence and self-choice, between morals and sins. The book was repeatedly banned, chopped and otherwise censored because of its copious sex, drugs, debauchery and homoerotic overtones (it is Wilde, after all). Though other filmic versions of this book have been undertaken in past, this one is a solid translation with surprisingly few variations from the original story.

    DORIAN GRAY was directed by Brit Oliver Parker, who is mainly known for other literary adaptations like THE IMPORTANCE OF BEING EARNEST, but also appeared as in small parts in several Clive Barker flicks. Toby Finlay’s screenplay closely follows the book as the titular young protagonist arrives in London and is quickly thrust into a social scene of parties and aristocracy. Dorian (Ben Barnes) meets several older men who seem to live vicariously through him, convincing him that beauty and pleasure are all there is to live for. During this time, he gets his portrait painted, and professes that he would give his soul to stay as youthful as he looks in the picture. Done and done. Dorian begins to live a life of pure pleasure and sin, under the constant encouragement of his older male comrades. But, though he is living fast and hard, he stays young and beautiful while the picture ages for him.

    And in this film, the painting seriously ages—like, decaying with maggots. Realizing that he can do anything he likes and only the picture will suffer the consequences, Dorian embarks on a lifelong bender of orgies, drugs, alcohol, fight clubs and every sexual fetish the filmmakers could fit in. And all the while, the portrait takes the beating. Eventually, however, people find out about it, and Dorian must come to brutal and violent terms with the life he has lived.

    The art direction of the film’s late-1800s English settings looks exquisite in the discs’ 1.85:1 transfers. I felt extremely classy watching all the fancy clothes and flowery talk, as though I could now drink tea and use doilies. But genre fans need not feel threatened by all the touches of class; DORIAN GRAY is first and foremost a dark, horrific journey into one man’s soul, and the hoity-toity trappings and language just make his downfall into hell all the more powerful, showing that beauty is fleeting and its upshot can be hideous.

    DORIAN GRAY doesn’t completely follow the original text word for word, but still poses the same question Wilde asked: Just how far would a man go if there were no consequences for his actions? I asked myself what lengths I would explore after the movie ended, which is a sure sign of a good and effective film—though the best answer I could come up with was gorging myself on Cadbury Eggs and sliders (which do not make for as good a story as DORIAN). Parker and Finlay definitely take their own path in their treatment of certain plot elements, playing up the sins—after all, why just say Dorian’s going to an orgy when you can show it! With its classical literary background, DORIAN GRAY is a rarity among horror films; don’t expect an all-out gorefest, but it defiantly crosses the line into serious genre territory with its disturbing subject matter and thrills. Plus, the rotting picture is awesome.

    The extras on the discs are equally good, led by an audio commentary by Parker and Finlay. It’s quite interesting to hear how they made their choices to follow the book or go in their own direction, and how they handled the historical element. For instance, as decades pass and Dorian continues his debauchery, he tries some newer inventions of the day like heroin (first developed in 1895), a detail that is beautifully woven in. There are some deleted scenes included, but none that really change the story, just embellish it. Also included are several behind-the scenes featurettes, exploring the creation of the painting and other visual elements among their assorted subjects, a decent making-of documentary with cast and crew interviews and a pretty amusing blooper reel.



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  • “TOMB” It May Concern

    Originally posted on 2010-09-01 19:12:46 by Nick Masercola

    Edgar Allan Poe. His name isn’t just synonymous with horror; he’s one of the prized few who have given it artistic validity. And if you want to adapt any of his work, you damn well better do it right, or fear the wrath of his rabid fan base—always a tough crowd. Stepping up to the plate is THE TOMB, a modern reimagining of Poe’s short story “Ligeia” and one of the films in the FANGORIA FrightFest lineup (along with PIG HUNT, FRAGILE, ROAD KILL, DARK HOUSE, THE HAUNTING, GRIMM LOVE and HUNGER), which are currently available exclusively through Blockbuster stores and Blockbuster By Mail, as well as digitally via Blockbuster On Demand.

    Not familiar with the original tale? Don’t sweat it. While supposedly Poe’s favorite, “Ligeia” isn’t as well-known as classics such as “The Black Cat” or “The Raven.” The basic premise involves an unreliable, opium-addicted narrator discussing his love for and the eventual demise of his wife Ligeia, who, on her deathbed, said that she would find a way to become immortal. Soon after her passing, he begins to see her in his new fiancée, Rowena, and is unsure if it’s just in his mind, or if his love is really coming back from beyond the grave.

    The film, directed by Michael Staininger (see interview here), however, follows scholar Jonathan Merrick (Wes Bentley) as he falls under the spell of the irresistible, beautiful Ligeia (Sofya Skya). She’s fighting a fatal illness, and stealing the souls of others to stay alive; now she begins tricking Jonathan into helping her, slowly pulling him away from his fiancée Rowena and into her dark, depraved world.

    Bit of a difference, isn’t there? “It was screenwriter John Shirley’s idea to adapt the short story,” says the film’s producer, Jeff Most, who previously collaborated with the scribe on THE CROW. “I was very excited, as I am a big Edgar Allan Poe fan, and I told him I’d love to be involved with developing the script and producing the film. John Shirley is a celebrated novelist with well over 60 published novels and short-story collections to his credit, and he sought to insure that we stayed as close to the original source material as possible. We needed to strike a delicate balance in adapting Poe’s tale for the screen, in order to remain as faithful as possible and not alienate fans, and yet extend the story to one worthy of feature length.”

    To bring that story to life, the filmmakers went to great lengths in gathering a well-rounded, talented cast, which includes Michael Madsen, Eric Roberts, Cary Hiryoki-Tagawa, Kaitlin Doubleday, Christa Campbell and Mackenzie Rosman. “Michael was very passionate about putting together a great ensemble of actors,” Most says. “He wanted to use them in roles where they were going to work against type in some cases, and in others in roles we haven’t seen them play before.

    “Nonetheless,” he adds, “we struggled for quite a while, working to insure we had exactly the right group who could bring the material to life. We were honored to be graced by such amazing talents as Wes, Michael, Eric, Cary and Mackenzie, and young stars on the rise like Kaitlin and Sofya.”

    In addition to stocking the film with great actors, the team assured the film is also great to look at. The cinematography by Chris Benson is terrific, and many of the shots could be slapped on the back of postcards. “Even though we were working with a low budget, we employed incredibly talented crews in the cities where we filmed,” says the producer. “We were very fortunate in having the opportunity to work on wonderful locations in St. Louis, Missouri, where the majority of the film was shot, and in the cities of Yalta, Balaklava, Sevastopol and Crimea, Ukraine. The director and I, along with Chris and the film’s production designer, Cat Cacciatore, took great pains to ensure that the film’s look and the locations themselves would be as evocative of the material as possible.”

    While Most tended to all the usual producer’s duties on THE TOMB, he also likes to make creative contributions to the films he works on, and this one was no exception. He served as the 2nd unit director, and also brought the movie’s composer on board. “We were very blessed to have the renowned Patrick Cassidy working with us,” Most says. “I had known Patrick for many years, but we hadn’t had the chance to work together on a film. He’s a classically trained musician who has done amazing work, and has collaborated with such masterful directors as Ridley Scott on KINGDOM OF HEAVEN. I introduced him to Michael and they clicked right away, and once we were into the nitty-gritty of getting the score designed and tailored to support the film’s pacing, the editor, Danny Sapphire—an amazing editor who has an incredible understanding of how the score needs to work with the story and energy of each scene—began working very closely with Patrick to design a very specific tone for each scene. Out of this very tight collaboration between composer, director and editor came a beautifully crafted, powerful, evocative, eloquent and memorable score.”

    Now, the final result has been released with Fango’s help, and Most raves, “I’m a huge fan of FANGORIA and have a tremendous respect for the magazine and the brand. I’m delighted that THE TOMB was chosen to be distributed under the FrightFest label. It was the subject of a great deal of interest from a number of distributors, but once FANGORIA entered the fray, I felt we had a wonderful association that gave us a badge of honor we could display alongside our title.”

    With THE TOMB now available to viewers, Most has his hands full producing the remake of THE CROW. “I’m very excited about it,” he says. “[Director] Steve Norrington is one of the most talented genre filmmakers in the world, and I believe he will surprise and delight fans of THE CROW with the efforts he is making with the franchise.”

    But that’s not all the busy producer is working on. “I’m currently finishing off two films which are in postproduction. SOLDIERS OF FORTUNE is an action franchise I developed with Robert Crombie for Christian Slater, and I’m in finishing a romantic comedy called SLIGHTLY SINGLE IN L.A., which I produced with my partner Jeff Rice and deals with the dating world in Los Angeles.”

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  • “AMER” filmmakers title next giallo

    Originally posted on 2010-09-01 18:20:07 by Samuel Zimmerman

    The giallo-inspired AMER (which Fango is a huge supporter of) hits US theaters this Fall and apparently, thanks to yet another successful festival appearance (this time at this past week’s Film 4 FrightFest in London), will also be seen on big screens across the UK. The directors, Helene Cattet and Bruno Corzani, have stated they’ll continue on the path set forth with their debut and now we have the title of their next foray into the italian subgenre. And boy, does it sound like a giallo! Hit the jump to check it out..

    Fango contributor and FrightFest director Alan Jones announced the UK release of AMER on his twitter where he wrote, “Just learned AMER to get a UK theatrical release after fabulous success at FrightFest.” He then added, “Delighted, and can’t wait for their next giallo…THE STRANGE COLOUR OF YOUR BODY’S TEARS. That’s the title of Helene Cattet and Bruno Forzani’s new movie and I cannot wait.”

    Back in April, Forzani told FANGORIA, “We are working at the moment on a giallo set in Brussels.” Click here to see what else he and Cattet had to say about THE STRANGE COLOUR. Also, be on the lookout for our AMER feature in Fangoria #298, on sale in October!

    AMER releases October 29 in New York, and then rolls out across the country in the weeks after. 

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  • Face Riff: Face Riffing the Nation

    Originally posted on 2010-09-01 17:12:16 by Jeff Tuttle

    For many hardcore and punk bands, summertime in America means it’s time for the Warped Tour. In turn, Warped Tour for many hardcore and punk bands means two months of setting up in sweaty stadium parking lots and some of the hottest days El Diablo can conjure up. This is the tour that began when I was in high school (mid-‘90s) as a collection of underground artists and extreme sports stars traveling the country to entertain the nation’s misunderstood youth.

    Over the past 15-ish years, though, the Warped Tour has grown to become a mainstay amongst rebellious teenagers and those who want to dig past the flowery surface of FM radio and wade in the delightful obscurity of indie pay dirt. The Dillinger Escape Plan had the distinctive honor of completing this year’s musical marathon, and I had a chance to catch up with some old friends from all over the country and pick up a few new horror titles along the way.

    Our pit stop in New York was accompanied by a visit from Fango scribe and good friend Samuel Zimmerman. The evening was replete with delicious tri-tip steak, tons of great music and a screening of Frank Henenlotter’s BAD BIOLOGY. His first in 16 years, BAD BIOLOGY is the tale of two sexual miscreants (to put it lightly) who find each other as the body count rises in true Henenlotter fashion. The night’s mantra was provided by a bevy of disoriented passersby continually shouting “What the f*ck are you watching?!?!” An autonomous mutant penis? A girl with seven clits who gives birth within minutes of conception? Thanks for the memories, Frank.

    A couple days later, I took the train into NYC and met up with Sam at the FANGORIA offices. He gave me a quick tour that included a glimpse into the vault that houses all the Fango back issues. This vault is more of a closet, but I was nonetheless giddy to witness the annals of horror’s history in all of their blood-splattered glory

    As always, a trip to NYC cannot be complete without a stop at Mondo Kim’s Video. After spending a king’s ransom, I walked out with an armful of titles, highlighted by the recent exploitation throwback gem BLACK DEVIL DOLL. By this time, my reputation of clearing the lounge area on our bus with my cinematic choices had grown to staggering heights. A film about a jive-talking black activist/rapist/racist/murderer who is reincarnated into a doll, a la CHILD’S PLAY, only to wreak havoc on a houseful of big-titted bimbos with his knife and penis was the perfect flick to continue my track record.

    All in all, it was a great summer. Killer friends, killer bands and bloody movies. In my next installment, I’ll talk about some of the films that were given to me by some friends that fought alongside me in the Warped Tour trenches. Stay tuned and stay brutal!!!

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  • “MACHETE” clip: “Heads will roll!”

    Originally posted on 2010-09-01 15:23:32 by Allan Dart

    Lots of heads! In this red band trailer for MACHETE (opening Friday), Danny Trejo puts his blade to good and bloody use. However, if you want to keep the movie’s kills a surprise, then don’t check out the 30-second murderous montage after the jump.

    IGN posted the incredibly violent clip, which you can check out below. Directed by Robert Rodriguez and Ethan Maniquis, MACHETE stars Trejo, Jessica Alba, Michelle Rodriguez, Robert De Niro, Steven Seagal, Jeff Fahey, Cheech Marin, Lindsay Lohan and Don Johnson. 

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  • Another trio join “SHARK NIGHT 3D” cast

    Originally posted on 2010-09-01 03:05:31 by

    There’s been an awful lot of casting today for the latest movie about big fish. Following the announcement this morning of four actors taking part in SHARK NIGHT 3D, another trio have been added to the ensemble.

    Variety reports that Sara Paxton (pictured), Dustin Milligan and Katharine McPhee will play three of the college students whose lake-house vacation is threatened by the finned killers. Paxton was the heroine of the LAST HOUSE ON THE LEFT remake and recently wrapped roles in a pair of indie fright features, Ti West’s THE INNKEEPERS and Jack Heller’s ENTER NOWHERE. Milligan’s credits include FINAL DESTINATION 3, THE BUTTERFLY EFFECT 2 and THE MESSENGERS, while McPhee, the runner-up in the fifth season of AMERICAN IDOL, recently turned actress with roles in THE HOUSE BUNNY and assorted TV shows. Director David R. Ellis, who has experience with 3-D from THE FINAL DESTINATION and cold-blooded predators from SNAKES ON A PLANE, begins shooting SHARK NIGHT 3D next month in Shreveport, LA, from a script by Jesse Studenberg and Will Hayes.

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  • “PIRANHA 3D” producer Mark Canton vs. James Cameron

    Originally posted on 2010-09-01 01:32:09 by Tony Timpone

    PIRANHA 3D producer Mark Canton saw PIRANHA PART TWO: THE SPAWNING director James Cameron’s recent digs regarding the current fishy remake (see news item here), and he’s not a happy camper. Read below the jump his official statement on the genre feud.

    “As a producer in the entertainment industry, Jim Cameron’s comments on VanityFair.com are very disappointing to me and the team that made PIRANHA 3D. Mr. Cameron, who singles himself out to be a visionary of moviemaking, seems to have a small vision regarding any motion pictures that are not his own. It is amazing that in the moviemaking process—which is certainly a team sport—that Cameron consistently celebrates himself out as though he is a team of one. His comments are ridiculous, self-serving and insulting to those of us who are not caught up in serving his ego and his rhetoric.

    Jim, are you kidding or what? First of all, let’s start by you accepting the fact that you were the original director of PIRANHA TWO and you were fired. Shame on you for thinking that genre movies and the real maestros like Roger Corman and his collaborators are any less auteur or impactful in the history of cinema than you. Martin Scorsese made BOXCAR BERTHA at the beginning of his career. And Francis Ford Coppola made DEMENTIA 13 back in 1963.  And those are just a few examples of the talented and successful filmmakers whose roots are in genre films. Who are you to impugn any genre film or its creators? Having been deeply involved, as either an executive or as a producer, on Tim Burton’s original BATMAN and the first MEN IN BLACK, as well as 300, and now IMMORTALS, one of the things that has been consistent about all of the filmmakers involved in these landscape-changing global films is that, in each and every case, all of the directors were humbled by their predecessors, their colleagues and by their awareness of the great history of film that came before them. The enjoyment and the immersion of an audience in a movie theater, as they had and will have with the above-mentioned films, and as audiences are experiencing with PIRNAHA 3D now, comes from the originality and the vision of the filmmaker, and not just from the creation of the technology. You as much as anyone certainly knows that there are many pieces to the puzzle. Going to the movies still remains, arguably, amongst the best communal experiences that human beings can share.

    My sense is that Mr. Cameron has never seen PIRANHA 3D…certainly not in a movie theater with a real audience. Jim, we invite you to take that opportunity and experience the movie in a theater full of fans—fans for whom this movie was always intended to entertain. Does Mr. Cameron have no idea of the painstaking efforts made by the talented young filmmaker Alex Aja and his team of collaborators? Clearly, and this one is a good bet, he has no clue as to how great and how much of a fun-filled experience the audiences who have seen the film in 3D have enjoyed. Those of us who have tried to stay in touch with the common movie audiences—the ones who really matter, the ones who actually still go to the theater, put on the glasses, and eat the popcorn—take joy and pride in the fact that movies of all kinds, including PIRANHA 3D, have a place in filmmaking history—past, present and future. 3D unto itself is not a genre, Jim, it is a tool that gives audiences an enhanced experience as they experience all kinds of movies. I believe Mr. Cameron did not see PIRANHA 3D either with any real audience or not at all. On opening weekend, I was in a Los Angeles theater with a number of today’s great filmmakers including J.J. Abrams, who actually had nothing short of the fabulous, fun 3D experience that the movie provides. I am fortunate enough to have worked on, and continue to work on, evolutionary movies in all formats from just simple good storytelling, which still matters most of all, to CG movies to tentpole size 3D movies, and genre 3D movies like PIRANHA 3D.

    What it comes down to, Jim, is—that like most things in life—size doesn’t really matter. Not everyone has the advantage of having endless amounts of money to play in their sandbox and to take 10 years using other people’s money to make and market a film like you do. Why can’t you just count your blessings? Why do you have to drop Marty Scorsese’s or Tim Burton’s names, both gentlemen who I have personally worked with, and who have enjoyed great joy and success with movies of all genres and sizes well before the advent of modern 3D? Then as now, they were like kids in a candy store recognizing, far beyond your imagination, the possibilities of storytelling and originality.

    For the record, before you just totally dismiss PIRANHA 3D and all, in your opinion, worthless genre movies that actually undoubtedly gave you the ability to start your career, you should know that PIRANHA 3D had an 82 percent ”fresh” (positive) ratting on Rotten Tomatoes on opening day—a website that all the studios, filmmakers and the public use as a barometer of what makes a quality film. We know that PIRANHA 3D has not achieved a box office that is on the level of many of Mr. Cameron’s successes. To date, PIRANHA 3D has earned over $30 million around the globe with #1 openings in several countries. And, as the “fresh” rating on Rotten Tomatoes indicates, critics and many, many others have embraced and celebrated PIRANHA 3D for the fun and entertaining—and even smart—moviegoing experience that it is.

    Let’s just keep this in mind, Jim—you did not invent 3D. You were fortunate that others inspired you to take it further. The simple truth is that I had nothing but good things to say about AVATAR and my own experience since I actually saw it and didn’t damn someone else’s talent publicly in order to disassociate myself from my origins in the business from which we are all very fortunate. To be honest, I found the 3D in AVATAR to be inconsistent and while ground breaking in many respects, sometimes I thought it overwhelmed the storytelling. Technology aside, I wish AVATAR had been more original in its storytelling. We have to inspire, teach and mentor this next generation of filmmakers. It is garbage to suggest that any film or any filmmaker who cannot afford to work to your standards should be dissuaded from following his or her craft by not making 3D movies or not making movies like DISTRICT 9, for example, which probably cost the amount of AVATAR’s craft services budget, but totally rocked it in the movie theater and in the marketplace. In that case, it was not a 3D movie. But had it been, it certainly would not have been any less original or impactful. The enormous worldwide success of AVATAR has been good in all respects for you, your financiers, your distributors and the industry, as well as for the moviegoing public. Jim, there is a difference between Maestro which is a word that garners respect, and Dictator or Critic which are words better left for others who are not in our mutual boat or on our team. You are one of the best, it is reasonable to think that you should dig deeper and behave like it. Young directors should be inspired by you, not publicly castigated by your mean-spirited and flawed analysis.

    While we are all awed by your talents and your box office successes—and I compliment you on all of them—why don’t you rethink how you address films with which you are not involved? You should be taking the high road that is being traveled by so many of your peers, and pulling with them to ensure that we, as an industry, will have a continuum of talented filmmakers that will deliver a myriad of motion pictures both big and small, with 3D or any other technologies yet to come that will entertain audiences throughout the world. That is the challenge that we face. That is the future that we should deliver.

    Please go see PIRANHA 3D in a theater near you.” —Mark Canton

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  • Win a copy of The Other’s new CD, “NEW BLOOD”

    Originally posted on 2010-08-31 21:03:29 by Rebekah McKendry

    Continuing our look at The Other’s new album, NEW BLOOD (check out the band and a new song here), FANGORIA will not only be offering a free listen to one of the tracks on Sept 1st. We will are also giving away 10 copies of the new CD. Hit the jump for details!

    To win your own copy of The Other’s NEW BLOOD, just send an email to rebekah@fangoria.com

    Be sure to put “THE OTHER” in the title, and please include the following:

    Name, age, email address, mailing address, and let us know if you would like to join out mailing list.

    Thanks! And good luck!

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  • Win an autographed “SUCK” guitar; screening update!

    Originally posted on 2010-08-31 20:14:40 by Tony Timpone

    Ever want to be an undead rock star? Now you can, as Entertainment One, D&E Entertainment and Gibson are giving away one Gibson Flying V guitar (approximate retail value $1,199.00) autographed by the fanged cast of SUCK. Go here for complete terms and conditions.

    FANGORIA is partnering with Entertainment One and D&E Entertainment for a nationwide, one-time only theatrical screening of the raucous horror comedy this Thursday, September 2 in over 100 digital cinemas. Participating venues include: AMC, Carmike, Celebration Cinemas, Dipson, Lee Neighborhood, Mann, Marcus, Clearview, Wehrenberg, Bow Tie, Rave, Studio Movie Grill, Cleveland Cinemas, Allen Theatres, Harkins, Alamo Drafthouse, Regent Theatre, The Michigan Theatre, Cinema West, Spectrum 8, The Movie Experience, Cinema Café and Showplace East Cinemas. Showtimes and theater locations are now available for this bloody fun event here.

    Written, directed and starring Rob Stefaniuk, SUCK follows a down and out rock band, ironically known as The Winners, who are desperately seeking a record deal and will do anything to make it big. After a life-changing encounter with a notorious bloodsucker (Dimitri Coats as Queeny), they rocket to stardom only to discover that fame and fortune are not all they are cracked up to be. As their fanbase grows, the Winners soon find themselves stalked by creepy producers, wild groupies and the legendary vampire hunter Eddie Van Helsig (genre legend Malcolm McDowell). For these rockers, fame becomes a fate worse than death.

    After its world premiere at the 2009 Toronto International Film Festival, SUCK made its U.S. debut at the South by Southwest in Austin earlier this year. The movie co-stars Jessica Pare (HOT TUB TIME MACHINE) and Dave Foley (THE KIDS IN THE HALL) and features memorable supporting turns by music greats Iggy Pop, Henry Rollins, Moby, Alex Lifeson of Rush and Alice Cooper.

    Besides screening last month to a rabid audience at San Diego during Comic-Con, SUCK also played Montreal’s Fantasia film festival (see review), bringing home the Silver Prize for Best Canadian Feature.

    Reviewing the film, Quiet Earth’s Marina Antunes said: “SUCK is great fun, a film that entertains from beginning to end and which left me wanting for more.” Twitch’s Todd Brown commented, “SUCK has all the ingredients for an instant cult hit.” To see if SUCK is coming to your town and to purchase tickets, as well as view the trailer, sink your fangs into the official site and see FANGORIA #297 for an exclusive set report to the film’s Toronto location.

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  • EXCLUSIVE “FLICK” storyboards

    Originally posted on 2010-08-31 19:40:06 by Max Weinstein

    Since its initial exposure—a 2008 film festival touring stint which resulted in garnering a Raindance Award nomination—writer/director David Howard’s pulp noir zombie film FLICK arrives on DVD October 26 from Peace Arch Entertainment. To peer a little further into the film’s off-kilter take on isolation, young love and gruesome, begrudging revenge, FANGORIA obtained some exclusive storyboards that take us on a trip to the morgue.

    Something of a professed ode to the genre drive-in movies of the 1950s, FLICK follows the comic-book styled narrative of Johnny “Flick” Taylor (Hugh O’Conor of DEATHWATCH), a socially awkward and much tormented high school teen whose only wish out of life is to share a dance and a kiss with the lovely Sally (Hayley Angel Wardle). While she remains good-natured and willing to oblige (“Johnny’s a good dancer,” she says), Johnny is driven to homicidal tendencies when the goons Sally pals around with target him for humiliation. Years later, after emerging from a car crash, Johnny resurfaces as a zombie, fueled to kill those who wronged him and to pursue the only girl he’s ever loved. His bloody adventures are backed by a bitchin’ soundtrack that pervades the local radio airwaves—one that includes both familiar hits by Elvis Presley, as well as original rockabilly compositions from producer/songwriter Richard Hawley. Thrown into the blender is BONNIE AND CLYDE’S Faye Dunaway, hamming it up as Lt. McKenzie, alongside her partner Sgt. Miller (Mark Benton), both two methodical detectives on the trail of the curiously patterned crime scenes Johnny leaves behind. Watch for more FLICK exclusives on this site soon, and check out the film’s official website here.

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