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    “SONNO PROFONDO” (Movie Review)

    The following might very well be the shortest review you’ll read here at Fango this month. It’s not because SONNO PROFONDO (DEEP SLEEP) — a new Argentinian psychodrama from writer, composer, photographer and director Luciano Onetti — is a bad movie. It’s not. It’s actually not a movie at all really, in the traditional sense anyway.

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    “IT FOLLOWS” (Fantastic Fest Review)

    The concept that drives writer/director David Robert Mitchell’s unnerving horror film IT FOLLOWS is obvious in its allegory and certainly, the idea of evil VD has been mined since David Cronenberg literally spat out his sex parasites in 1975’s THE CAME FROM WITHIN (aka SHIVERS). Here, in IT FOLLOWS, it’s not the metaphorical frissons that affect the viewer, rather it is the economical ways in which its director uses sound, silences and framing to seep under the audience’s skin. And believe us, IT FOLLOWS, much like the spectral STD it introduces, leaves an unshakable residue long after withdrawal.

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  • TORONTO: Blood in the Snow Film Fest to Announce Full Lineup at HORROR-RAMA

    Toronto-based horror convention HORROR-RAMA, a two-day fan event happening in Toronto, Canada this November 1-2, 2014 (check out the latest update) has just announced that Canadian horror film festival BLOOD IN THE SNOW (which runs from November 28th – 30th at the Carlton Cinema in Toronto) will announce its full third year lineup at the show.

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    “BACKCOUNTRY” (TIFF Movie Review)

    Canada is a land rich in unspoiled nature. With dense forests and breathtaking cinematic locations from coast to coast, you’ll find many a US western, period piece or summer camp flick shot up here, wherein the producers dupe viewers into thinking you’re watching anything but a Canadian film.

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  • Ivan Reitman Talks “CANNIBAL GIRLS,” Cinépix, Cronenberg and “GHOSTBUSTERS”

    Last week, right in the middle of the Toronto International Film Festival, veteran producer and director Ivan Reitman (STRIPES, MEATBALLS, CANNIBAL GIRLS) breezed through town. The same town which, as a boy, his family found a new home and life after fleeing then Czechoslovakia, forgingthe blueprint for the wild path his creative life would take, roads that would lead him to become Hollywood royalty.

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    David Cronenberg’s “MAPS TO THE STARS” (TIFF Movie Review)

    I’ve said this before, but to fully appreciate and embrace the work of mad Canadian movie maverick David Cronenberg, you must view his films as an arc—a trajectory of obsession that begins with his earliest shorts like CRIMES OF THE FUTURE, to his first features like SHIVERS and RABID, continuing with less fantastical but no less visceral fare SPIDER, CRASH and COSMOPOLIS and climaxing (literally in some sequences) with his latest immersion into weird human behavior, the malevolent Cannes hit MAPS TO THE STARS.

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    “THE REACH” (TIFF Review)

    THE REACH is a great work of pulp delirium masquerading as accessible mainstream entertainment. Starring, as it does, the son of Spartacus himself, legendary actor Michael Douglas (who also produced and developed the project) and baited for the ladies with youthful hard bodied hunk Jeremy Irvine (WAR HORSE), THE REACH exceeds its potentially pedestrian lure and conventional set-up and ends up being something far more daring and aesthetically evolved. An existential, bizarre western/horror hybrid, it plays like an expanded ROAD RUNNER short by way of Werner Herzog’s FITZCARRALDO and THE MOST DANGEROUS GAME, peppered with macho swagger and a distinctly European sense of operatic grandeur.  And like the similarly testosterone-soaked thriller THE GREY, if marketed right THE REACH could—and should—find its cult very quickly.

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