LOGO
  • ,

    “AMERICAN HORROR STORY: COVEN’s” Main Titles are the Series’ Best Yet

    While I’m sure it speaks to personal taste, it seems the always enticing opening credits of AMERICAN HORROR STORY have reached an apex. A kaleidoscopic journey through witchy symbols, voodoo spells, demonic art, intense costume design, stag heads and pagan rites , the dark groove is even more subdued and the black magick style makes one wish the entire series would be this woodsy and off-putting. Previous comments from creator Ryan Murphy have hinted towards a lighter tone after the often punishing ASYLUM, but if any of the present aesthetic makes its way in, this is 100% exciting. 

    Read more »
  • ,,,

    See Marina de Van’s “DARK TOUCH” for free!

    Marina de Van’s DARK TOUCH is a grim, provocative tale of the effects of corrupted youth manifesting in violent, psychic ways. Its Irish setting is appropriately Gothic and the places de Van is willing to go, entirely warped. I loved DARK TOUCH earlier this year at New York City’s Tribeca Film Festival and as its VOD release approaches (from IFC Midnight) am entirely excited to offer one lucky FANGORIA reader the chance to see the film free on SundanceNow.

    Read more »
  • ,

    “AMERICAN HORROR STORY” Video: The Voodoo Queen of New Orleans and her appendage

    On this season of AMERICAN HORROR STORY, subtitled COVEN thanks to a central focus on warring witches, Angela Bassett essays the real-life figure Marie Laveau. A Voodoo practitioner in 1800s New Orleans, Laveau was said to possess the power of divination, as well as own a pet snake named Zombi. This latest promo for the upcoming series posits she was part snake. Whether that’s just the trailers being reliably weird remains to be seen. 

    Read more »
  • ,,

    “GRAND PIANO” (Fantastic Fest Movie Review)

    It is not rare to find a director appropriating, or recalling, the stylistic flair of Alfred Hitchcock, Brian De Palma or Dario Argento. Just at Fantastic Fest alone, we’ve encountered director Mark Hartley employing a great deal of split diopter throughout his remake of 1978’s PATRICK. What is rare, however, is to find such influence utilized in clever, thematically appropriate and more breathtaking than endearing manner. As you may expect, this is leading to the arrival of such a film: Eugenio Mira’s GRAND PIANO, an utter joy of high concept, artfully composed and absolutely thrilling pure cinema.

    Read more »
  • ,,

    “WITCHING & BITCHING” (Movie Review)

    Álex de la Iglesia’s last towering horror effort, THE LAST CIRCUS, was an intensely grim (but not entirely devoid of humor), wildly bizarre look at a country he loves and the struggles that threaten to tear it apart. Being the masterful genre filmmaker he is, WITCHING & BITCHING similarly has a fair share on its mind, but on the flipside is a giddy, delightful supernatural romp, probing the way men and women treat each other.

    Read more »
  • ,

    Red Band Trailer Lays Out How the “HELLBENDERS” Roll

    JT Petty, the filmmaker behind fantastic, and serious-minded horror western THE BURROWERS has turned his attention to something of a rowdy horror comedy in HELLBENDERS. The tale of the Augustine Interfaith Order of Hellbound Saints and their aim to break bad so that they may attract possessing demons and set the evil straight, looks like shitty attitude-boasting, New York fun.

    Read more »
  • ,,

    “SEPTIC MAN” (Fantastic Fest Movie Review)

    Can something with as outlandish a plot as SEPTIC MAN—one seemingly conceived in Tromaville—make an attempt at being meditative?  I’d argue yes, of course. It’s an artist’s prerogative how they’d like to present their story, and if writer Tony Burgess and director Jesse Thomas Cook saw something mellow, or melancholy, in a man covered in shit, it’s up to the audience to tune in to their fecal frequency. Does a subsequent distaste then seem worse, however, if their unexpected take misses the mark? It may be more ambitious, but is it somehow more trying than if they simply filmed a wannabe cult retread? Absolutely.

    Read more »
  • ,,

    “PATRICK” (Fantastic Fest Movie Review)

    The suspenseful opening sequence of Mark Hartley’s narrative debut, PATRICK, deals in a time honored thriller trope. A nurse, dangerously sneaking through pitch black halls and seemingly aiming to uncover something secret, uses her camera flash to help her see. It’s a device that’s perhaps most iconic in Hitchcock’s REAR WINDOW, but has been utilized in countless films since. It’s certainly not employed to poor effect here, and once the opening titles reveal a score from Pino Donaggio and the film itself is decorated by gothic interiors (not dissimilar from the medical estate in Aussie great NEXT OF KIN) and vintage nurse uniforms, it’s immediately endearing what the filmmaker is striving toward.

    Read more »
  • ,,

    The Most Anticipated Films of Fantastic Fest ’13

    Fantastic Fest is upon us. For many not attending, the idea of calling it “the best festival experience I have each year,” isn’t exactly detailed or specific. There’s little other way to describe it however. A contained, communal celebration of genre and all the out-there concepts such a little word can entail, Fantastic Fest is full of anticipation and discovery and like the best fests, you often leave with your favorite film the one you least expected and most especially, had never heard of.

    Read more »
Back to Top