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    Shadowvision: “ROSEMARY’S BABY”

    Welcome to Shadowvision, a regular column in which Fangoria.com revisits modern horror films in black and white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition.

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    Fango Flashback: Verhoeven’s “ROBOCOP” (1987)

    Being from the younger generation of today’s cinephiles, there’s a certain pool of veteran filmmakers that I’d love to see deliver one more passion-fueled film before calling it quits. With Hollywood becoming more tentpole-focused however, it’s unlikely to imagine a world where subversive genre filmmakers such as John Carpenter, David Lynch and Paul Verhoeven would get that chance to relive their bloody glory days. Thus is the nature of the business, but still, there’s such an exhilaration from revisiting their work that the absence of new, well-funded films from these filmmakers leaves a hole in the world of imaginative onscreen storytelling. In the case of Paul Verhoeven, who is still working busier than ever outside of the US Hollywood system, that return to the system that brought us classic sci-fi gorefests like TOTAL RECALL, STARSHIP TROOPERS and ROBOCOP always seems to be coasting on the horizon as his films are neutered in mega-budgeted, misguided PG-13 remakes.

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    Shadowvision: “THE INNKEEPERS”

    Welcome to Shadowvision, a regular column in which Fangoria.com revisits modern horror films in black and white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition.

    Read more »
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    “RETURN TO NUKE ’EM HIGH VOLUME 1” (Film Review)

    There’s a saying that’s commonly used to negate all consequence of bad behavior in the name of acting upon instinct: “Boys will be boys.” In the world of genre entertainment, that same phrase should be applied to Troma, as Troma has, is and always will be Troma. Transcending limitations of taste and logic, the company has returned to present one of its funniest and craziest films of all time, RETURN TO NUKE ’EM HIGH VOLUME 1.

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    Fango Flashback: “TOTAL RECALL” (1990)

    After making a splash with the ultraviolent sci-fi satire ROBOCOP, it’s not a giant shock that Verhoeven’s next blockbuster venture would be the Philip K. Dick adaptation TOTAL RECALL, which paired the unpredictable director with one of Hollywood’s most reliable action stars, Arnold Schwarzenegger. In a way, the pairing is somewhat perfect, matching two of Hollywood’s most promising imports and vibrant personalities to create a film about a surreal identity crisis. The casting of Arnold Schwarzenegger as a common construction worker stuck in a world of intergalactic espionage and sabotage was bizarre yet appropriate, and as such, he simultaneously delivers one of his most over-the-top performances, while being somewhat restrained and emotionally conflicted. Somehow, Verhoeven strikes gold with Schwarzenegger, who is brave and grateful enough to dive into another one of the director’s living universes, although this time much more alien in nature.

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    Blumhouse puts Bacon on “6 MIRANDA DRIVE”

    Following the success of his horror-infused serial killer series, THE FOLLOWING, it was only a matter of time before Kevin Bacon returned to face more frights on the big screen. Now, word comes from The Hollywood Reporter that the FRIDAY THE 13TH and STIR OF ECHOES star has found his cinematic chiller comeback by the way of Blumhouse and Aussie horror director Greg McLean (WOLF CREEK) with the supernatural thriller 6 MIRANDA DRIVE.

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    Q&A: Developer Dave Cox talks “CASTLEVANIA: LORDS OF SHADOW 2″

    When it comes to horror-adventure games, is there a legacy as reputable as that of the CASTLEVANIA series? The long-running video game franchise has let players explore its various corners and crevices, introducing new monstrous oddities while furthering its rich, Gothic mythology. The latest game in the series, the highly-anticipated CASTLEVANIA: LORDS OF SHADOW 2 (available now from Konami), builds upon its successful spin-off predecessor and finally lets longtime fans loose as one of the series’ most bloodthirsty arch villains, Dracula.

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    “HAUNT” (Movie Review)

    Sometimes, when telling a story about the afterlife, there’s an inherent understanding that plot and character can fall by the wayside in the name of pure, visceral terror. This particular subgenre is one of the oldest and easiest to execute, and thus there’s only so much in the way of originality and personality one can bring to ghost movies—essentially forcing filmmakers to choose style over substance. But if a horror story devotes itself solely to eliciting fear and subverting expectations, how much or easily can one forgive a lack of novelty or inspiration?

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    Stream to Scream: “LAID TO REST”

    As many fright fans already know, FANGORIA offers a great selection of gruesome movies, old and new, for free at our Hulu channel. To give you a better idea of what’s in store, FANGORIA will be taking in-depth looks at some of the channel’s terrifying titles with this newest feature, Stream to Scream. Today: Robert Hall’s LAID TO REST.

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    From the FANGORIA Vault: Dario Argento’s “OPERA” (1987)

    Despite a brief respite into a world of warmth, I once again can’t tell whether or not the FANGORIA archives are chilly or chilling, but either way, we forge on and continue to explore this crypt of gruesome goodies. But this week, we’ve uncovered some shots rare enough to make any horror fan take to song, as they come from the effective and ever-eerie OPERA.

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    Shadowvision: “THE MONSTER SQUAD”

    Welcome to Shadowvision, a regular column in which Fangoria.com will be revisiting modern horror films in black and white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition.

    Read more »
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