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    “BLOOD AND GUTS” is back! Season premiere sets sh*t on fire

    The Nerdist and FANGORIA’s BLOOD AND GUTS with Scott Ian has returned, and it’s kicking things off with some real fire-works.

    Our behind-the-scenes web series sees metal legend and Anthrax guitarist Ian tour the wonderful world of makeup FX artistry. The premiere season visited the likes of Greg Nicotero, Gary Tunnicliffe, Jennifer Aspinall, Rob Hall/Almost Human and Jerry Constantine. This go round, the lineup is just as killer and first up is exploring gunshots, squibs and explosions with Ron Trost of Class A Special Effects Inc.

    For much more, you’d do well to follow BLOOD AND GUTS on Facebook and Twitter, as well as subscribe to the The Nerdist’s fantastic YouTube channel.

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    “PLUS ONE” (SXSW Movie Review)

    Were you a different person 45 minutes ago?  Is it wild to suggest you may have been? At an age like 18, 19 or 20, a significant time of development and personal understanding, it might not be. Kids are ever changing, ever evolving and often, not so organically. They revolve interests, style and friends in an effort to grasp themselves and impress others. All the while, they hemorrhage mistakes and spew nervous energy with little time to understand what’s working and what isn’t. PLUS ONE, the latest from Greek filmmaker Dennis Iliadis (THE LAST HOUSE ON THE LEFT), forces surreal reflection on the youth at a lavish house party, in a pop art-horror spin on one-night-can-change-everything teen movies.

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    “EVIL DEAD” to bloody WonderCon; Announcement Video, New clip

    Fede Alvarez’s remake of the Sam Raimi classic is being unleashed and by all accounts, it’s an unrepentant splatter show. Following the world premiere at SXSW, fans are being given another opportunity to preview the film with director and producers in tow at Anaheim’s upcoming WonderCon.

    WonderCon, a member of the Comic Con family that’s ever growing goes down in Anaheim March 29-31, just one week before EVIL DEAD storms cinemas. Director Alvarez and producers Bruce Campbell and Rob Tapert have decided to announce their planned attendance on Saturday March 30. You can find that clip below, as well as a brand new excerpt from the movie that comes with seven years bad luck.

    EVIL DEAD hits theaters April 5. Toronto Fango fans are getting an exclusive sneak of the film tonight and you can find much more from us on the reboot, starting with our cover story in issue #322 (on sale now), our exclusive audio interview with Alvarez and our talk with the cast.

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    “KISS OF THE DAMNED” (SXSW Movie Review)

    KISS OF THE DAMNED will most often be referred to as throwback. Its dreamy score, its opening titles, its visual flair and just how swooning the cast is all hark to the Roger Vadim, Jean Rollin Eurohorror aesthetic beloved by so many. More than a call, though, Xan Cassavettes’ vampire tale is a refresher. Entrenched in supernatural high society, its heightened senses, from ample bloodshed to melodramatics to lips that smash hard when they come together has found a way to make vampirism exhilarating onscreen again.

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    “REWIND THIS!” (SXSW Movie Review)

    Partway through director Josh Johnson’s VHS doc,  Alamo Drafthouse programmer Lars Nilsen explains, in his summation, culture hasn’t yet reflected on the impact of the dead (or not so) format. That impact, when looked at historically is where REWIND THIS! shines. Filmmakers like Frank Henenlotter, Charles Band, JR Bookwalter and Roy Frumkes (who very humorously hates the format), whose movies lived and found audiences on VHS, offer fantastic context and insight on being at the forefront. Anecdotes about shining to tapes before studios and the early days of sell-through prices make for great stories, while arguments about just what VHS did for low budgets, both on the distribution and filmmaking ends, are just a few buzz words away from sounding incredibly similar to the current pro-talk for digital revolution.

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    “HOLY GHOST PEOPLE” (SXSW Movie Review)

    While not exactly the type of film where one ends up asking themselves just who the title refers to (that line is drawn pretty clearly), there is a unifying trait in the entire ensemble of Mitchell Altieri’s thriller HOLY GHOST PEOPLE. The past haunts, and subsequently seems to catch up no matter how deep you embed yourself in something else; be it snake-handling backwoods church, be it isolation, be it alcohol, be it whatever it is you can sell yourself.

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