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    Contest: Austin! Win 2 Tickets to the “FROM DUSK TILL DAWN” Second Season Premiere at the ATX Festival!

    Yesterday, FANGORIA had the honor of debuting a new still from El Rey Network’s FROM DUSK TILL DAWN: THE SERIES, which is taking aim at hitting audiences on August 25th. However, for any FANGORIA Reader in the Austin, Texas area, you might have a chance to see the world premiere of Season 2 at this weekend’s ATX Festival, as well as a chance to catch a drink with the cast and crew!
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    “SALEM: Season 2, Episode 9” (TV Review)

    It’s very rare that a horror show like SALEM can get this far into a season while remaining largely unpredictable. The series has expertly played its narrative cards, and with every direction you think they might go, they choose a less expected path in a way that is not only satisfying but organic to the characters on display. Hence, in their latest episode entitled “Wages of Sin”, SALEM once again pulls the rug out from under the audience, sending one major character to the pits of hell while dragging others through their figurative hells as well.

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    Exclusive Still: Season Two of “FROM DUSK TILL DAWN: THE SERIES”

    After a successful first season run on the El Rey Network, FROM DUSK TILL DAWN: THE SERIES has seen its popularity surge as of late with the full run’s bow on DVD/Blu-ray and Netflix. And while the addition of the likes of Esai Morales, Jeff Fahey, Briana Evigan and Danny Trejo to the cast has built substantial buzz for FROM DUSK TILL DAWN: THE SERIES’ return on August 25th, El Rey Network has provided FANGORIA with a new exclusive still from the second season, which premieres it’s first episode this Saturday at the ATX Television Festival! Read on for more…

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    ANNOUNCEMENT: FANGORIA Introduces $6.66 Sale for more than 40 Back & Specialty Issues

    Following our recent half-off subscription sale, FANGORIA noticed a surprising amount of comments from our new subscribers mentioning that it had been years since they last subscribed to our fright rag. And while our back issues are largely a collectible item, not only great for reading but also for conventions and horror street cred, FANGORIA wants to help bridge the gap between horror past and present, cutting our prices by over 50% for our June $6.66 sale!

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    Toys of Terror #55

    Welcome to TOYS OF TERROR, Fango’s weekly feature exhibiting the coolest horror accessories across the web. Whether you’re a collector, connoisseur or simply making your love of horror a family affair, these petrifying playthings are likely to impress even the most heartless horror fan. So if you’re searching for a ghoulish gift, look no further…

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    “MADMAN” (Blu-ray Review)

    Out of all the indie gems that came out of the slasher movement of the ‘80s, there are few that are as purely entertaining as MADMAN. Directed by Joe Giannone, MADMAN captures the spirit of old school summer camp urban legends, presenting the perfect amount of cheese alongside an impressive amount of technical craftsmanship as well. And despite it’s obscurity among the horror audience at large, the cult of MADMAN has grown over the decades since its initial release, many of whom have championed the film fervently as something much more substantial than its initial aesthetics may suggest.

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    Stanley Film Festival ’15: The Plight of the Audience Picture

    “There’s nothing good at the movies anymore.” It’s a sentence that I’ve heard so much, and that film fans have grown so accustomed to, that it almost pains me to type it here. But nonetheless, it’s a statement many in the genre believe, and it’s perhaps the reason more and more people are turning to TV, VOD, Streaming Services and piracy for their entertainment fix. After all, the price of moviegoing goes up as big budget fodder, or in horror’s case, micro-budget jump scare fare fills the auditoriums, and art houses try to host the most buzzworthy independent titles just to keep a roof on their head.

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    Stream to Scream: “DEAD SNOW 2: RED VS. DEAD”

    While generally well-received, financially successful and, at the very least, having earned the notoriety of “that nazi zombie movie” among contemporary horror fans (over the likes of OUTPOST and SHOCKWAVES), DEAD SNOW has been a rather divisive movie among horror audiences. Some fright fans took Tommy Wirkola’s Scandinavian scare fare in stride, praising the fun approach to the material and splattery action that would cement it as a modern midnight movie. Others, however, were less impressed; whether it be using the “harbinger” trope or aping too much of Sam Raimi’s EVIL DEAD aesthetics, harder critics donned it too derivative for its own good. Thus when a sequel was announced, the response was a surprising balance between cheers and apprehension, even if the time since its premiere had garnered DEAD SNOW 2: RED VS. DEAD a mounting sense of goodwill.

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    “THE GREEN INFERNO” To Consume Audiences September 25th

    After nearly a year since the film was abruptly pulled from cinemas, Eli Roth’s cannibal opus THE GREEN INFERNO will see the light of day after all. Roth made the official announcement earlier today, detailing that the film will see a 1,000 theater release and a digital marketing platform (much akin to the expanded release of IT FOLLOWS) via Blumhouse Productions, who will team with Universal Pictures and High Top Releasing to distribute the film via Blumhouse’s BH Tilt label. This will also guarantee that THE GREEN INFERNO will hit theaters before Roth’s Sundance chiller KNOCK KNOCK, which Lionsgate aims to release later this year as well.

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    “BALLISTIC” (Comic Book Review)

    Subtlety can be a fragile thing. With some forms of storytelling, depending on the tale that’s being told, it could be an artist’s greatest ally, helping plant the seeds to a gradual reveal or hide some incredible character traits that become integral to the plot by the third act. However, for some stories, the absence of subtlety can be inappropriate in execution especially when paired against action and characters who benefit from the colorful and explicit. And in extreme cases such as Adam Egypt Mortimer and Darick Robertson’s BALLISTIC, subtlety is almost nowhere to be seen because the name of the game is cacophony and insanity, which BALLISTIC plays effortlessly.

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    Caption Contest Results: 05/25 – 05/29

    FANGORIA fanatics! If you’re one of the thousands who follow us on Twitter, you’re likely familiar with our daily Caption Contests! Now, due to the overwhelmingly positive response, we’re highlighting the best entries of the week for the world to see! So without further ado…

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    “LET US PREY” (Film Review)

    The mid-’00s were a very strange time in horror; the J-horror remake movement had gone stale, while the so-called “torture porn” scene exploded side by side with the New French Extremity movement. There was a very specific theme of sadism that ran through the genre on almost every level, with horror focusing on anguish and suffering whether or not the story truly supported it. Thus, many films of this time remain far from memorable, as even though the intention to push the barriers of good taste was pursued, there was so little payoff to make the experience truly gratifying. And when watching Brian O’Malley’s LET US PREY, that era came to mind in a different light altogether: creepy, brutal and gripping, I felt as if I was watching what those films had so often sought to become yet with the substance they so often forgotten.

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