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    Kevin Smith plans Christmas horror anthology, “COMES THE KRAMPUS”

    Ever since polarizing director Kevin Smith announced his second fright film, TUSK, there’s seemingly been endless updates to the director’s bucket list, most of which find a home within the genre world. Following TUSK and his upcoming religious horror HELENA HANDBAG, Smith has announced a CREEPSHOW-inspired horror anthology to his current slate, which he’ll co-direct with SModco cohorts Andy McElfresh, Jason Mewes, Carol Banker and Jennifer Schwalbach.

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    “OUTPOST: RISE OF THE SPETSNAZ” (Movie Review)

    Despite being much more imaginative and frightening than their popular subgenre counterpart DEAD SNOW, the OUTPOST films have been somewhat underrated by horror fans. By keeping something of a straight face in their depiction of undead Nazis, they mostly eschew the camp factor often associated with the concept, and perhaps are disregarded as a result. However, certain hardcore followers have stood by the series for its legitimate style and storytelling merits, and the newest addition to the franchise, OUTPOST: RISE OF THE SPETSNAZ, retains those merits as it further explores the mythology behind the films.

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    Eerie acquisitions: Lionsgate gets “COOTIES,” Anchor Bay to open “FEAR CLINIC”

    As a year noticeably scant on major genre releases, especially compared to the horror-heavy one before it, 2014 has plenty of room for genre sleepers to make their mark. So as rumblings make their way out of the Sundance Film Festival, it’s no surprise that horror fans can start making room on their calendars, as two notable fright flicks have found Stateside distribution.

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    Q&A: Ray Wise on “BIG ASS SPIDER!”

    From ROBOCOP to REAPER and all the PEAKS and CREEPERS in between, the legacy left by Ray Wise in his storied career is unquestionable. Wise has explored his dark and light sides in spades, and given audiences some of the most fascinating and fun characters ever put to screen. Most recently, Wise made his mark as the stern Major Braxton Tanner in Mike Mendez’s hilarious horror/comedy BIG ASS SPIDER! (now on DVD, Blu-ray and on-demand from Epic Pictures).

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    “24 EXPOSURES” (Movie Review)

    After his impressive and darkly comic horror debut with a segment of V/H/S, many horror lovers wondered when mumblecore auteur and occasional genre actor Joe Swanberg would tackle feature-length horror filmmaking. With his bent toward atmospheric, character-driven storytelling and associations with genre filmmakers like Adam Wingard and Ti West, it was only a matter of time before Swanberg found a horror story of his own to tell—yet fans of his V/H/S piece may be surprised that Swanberg opted out of startling, high-concept scares for the slow-burning dread of 24 EXPOSURES.

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    Q&A: Allison Miller on Her Satanic Pregnancy in “DEVIL’S DUE”

    There’s nothing on Earth like a mother’s love—even if her baby is literally the spawn of Satan. Playing expectant mom Sam in DEVIL’S DUE is Allison Miller, who last tangled with the supernatural in 2009’s live-action BLOOD: THE LAST VAMPIRE. She’ll likely hit the horror crowd in a bigger way as she delves into her dark side on DEVIL’S DUE, and hopefully leave a lasting impression in this horror-heavy month. Miller spoke to FANGORIA about playing the malevolent mother-to-be, her working relationship with filmmaking team Radio Silence and adapting to the mechanics of found-footage filmmaking.

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    Q&A: Actor Zach Gilford Talks “DEVIL’S DUE” and “THE PURGE 2”

    After a bumpy start, some may be wondering if 2014 will be as good a year for screen fear as the one before it. Actor Zach Gilford certainly hopes so; the FRIDAY NIGHT LIGHTS actor has doubled down on the genre this year, enduring hell in this week’s DEVIL’S DUE before entering the battlefield of THE PURGE 2, out June 20. FANGORIA spoke to the busy young actor about his first foray into found footage, and how horror may have been more familiar than he anticipated.

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    Q&A: Sam Witwer on “BEING HUMAN’s” Fourth Season & More

    Who could have predicted that television would’ve been such a boon for the genre? Ten years ago, horror on television was virtually non-existent, or at best unabashedly campy due to the restrictions of standards and practices that butchered any fright film that made the transition to TV. Yet as censorship has become more relaxed and horror grows further and further into the eyes of casual audiences, horror seems to be everywhere on the small screen, whether it be on gory premium cable programming or brooding broadcast series.

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