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    Q&A: Filmmaker Jake Dibeler on “HORRORPORN” and Horror at the NYC Porn Festival!

    This weekend’s inaugural New York City Porn Festival not only hopes to revive “a 42nd street 1980’s cinema experience” en route to re-establishing “adult film as a significant and socially/culturally relevant art form,” it is also throwing a fellow renegade film genre an—ahem—bone with a block of sexually explicit horror films under the fittingly blunt headline ‘EXTREME.’ This special program will include Barbara Bell’s GRAPHIC SEXUAL HORROR, Anon’s demon baby WET NURSE TRILOGY, and Jake Dibeler’s stylish, gore-laden berserker HORRORPORN. FANGORIA caught up with Diebler ahead of the fest to talk outré mediums/expressions, dark intersections, and material seriously not for the faint of heart.

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    Q&A: “THE END IN ALL BEGINNINGS” Author John F.D. Taff

    Interested in what awaits between the covers of THE BELL WITCH author John F.D. Taff’s fantastic recent novella collection THE END IN ALL BEGINNINGS? Imagine a series of round robin stories penned collaboratively by Clive Barker, Ray Bradbury, Edgar Allan Poe, Harlan Ellison, and Rod Serling, and you’ll be in the general neighborhood: lush, poetic, ceaselessly imaginative, seriously affecting, multifaceted modern horror fiction. FANGORIA caught up with Taff last week to chat about the dark side of literature, what it takes to be emotionally honest with a blank page, the upside of pain and tragedy, and that “King of Pain” moniker he’s picked up…

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    “DA SWEET BLOOD OF JESUS” (Movie Review)

    Spike Lee has been somewhat cryptic—though not exactly reticent—in expressing his unhappiness over the studio meddling he strongly suggests marred his vision for his reworking of Park Chan-wook’s landmark OLDBOY a couple years back. Not for nothing, it seems, was the ultra-brutal revenge thriller dubbed a “Spike Lee Film” rather than a “Spike Lee Joint.”

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    “PRETTY LITTLE DEAD GIRLS” (Book Review)

    Even judged by the ridiculously high bar that Mercedes M. Yardley set and reset via a quick succession of gorgeous, perception-altering releases—BEAUTIFUL SORROWS (2012), APOCALYPTIC MONTESSA AND NUCLEAR LULU: A TALE OF ATOMIC LOVE (2013), NAMELESS: THE DARKNESS COMES (2014)—the rising “dark whimsy” author’s latest, PRETTY LITTLE DEAD GIRLS, serves up a particularly delectable, eccentric feast of inspiring, soul-walloping lyrical beauty in the form of a genuinely affecting outsider love story. 

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    Q&A: The Skeleton-Fighting Skaters of “V/H/S: VIRAL’s” “Bonestorm”

    Those who would prefer to remain on the good side of starving actor/actress friends struggling and striving toward that elusive big break should never, ever share the story of how skateboarder Chase Newton accidentally became one of the stars of “Bonestorm,” the skateboarders-vs.-Mexican-cultists segment of V/H/S: VIRAL.

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    “V/H/S VIRAL” (Movie Review)

    Any debate scheduled to conclude with fisticuffs in a boxing ring is bound to engender a bit more tension than the average Oxford Union fare, but when Alamo Drafthouse CEO Tim League and horror director Ti West clashed at Fantastic Fest this past September over the unsubtle-yet-hilarious/apropos proposition “The Found Footage Genre is a Cancer Eating Away the Integrity of Cinema” the point-counterpoint—as foreshadowed by the pair’s brutal pre-confrontation challenge videos—took on a particularly vitriolic, take-no-prisoners vibe. 

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    Q&A: Keanu Reeves enters the “zoo of revenge” as JOHN WICK

    In homage to the film’s eponymous character, let’s dispatch with any namby-pamby vacillations or too-cute flourishes and employ some Bruce Lee-esque economy of motion (and language) here: JOHN WICK is hands down one of the best, most enlivening revenge thrillers to come down the pike in years—a prime-cut of uber-adrenalized, exquisitely realized action filmmaking that not only manages to bridge the gaps between A HISTORY OF VIOLENCE, EASTERN PROMISES, the BOURNE franchise, and the glorious insanity of later DEATH WISH flicks, but also achieves a near-perfect balance of pulse-raising, harrowing combat; heart-rending pathos; absurdist fun; primal, righteous—if somewhat reluctant!—vengeance; and, oh yeah, a body count sure to fill the heads of morticians in the audience with visions of retirement to the south of France. 

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    “WYRMWOOD” (Toronto After Dark Review)

    Despite a bleak, bleak, bleak opening sequence—the line “This morning I shot my wife and child with a nail gun” is spoken less than five minutes into the film and we are not spared the gory flashback details—in fairly short order the Australian zombie adventure WYRMWOOD takes a sharp left into deliciously wild, ridiculously hepped-up pastures, exuding a sinister buoyancy and spirit that resembles less a sui generis stand alone film than, say, the second or third entry in a franchise wherein filmmakers striving for freshness are willing (forced?) to indulge the more absurdist, outlandish elements of the horror palette—think BEYOND THUNDERDOME meets DREAM WARRIORS meets DEAD BY DAWN not MAD MAX meets NIGHTMARE ON ELM STREET meets EVIL DEAD. 

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    “LOST SOUL: THE DOOMED JOURNEY OF RICHARD STANLEY’S ISLAND OF DR. MOREAU” (Movie Review)

    Riding high on the wave of unforeseen success created by his arty 1990 dystopian flick HARDWARE, Richard Stanley turned next to a passion project adaptation of H.G. Wells’ THE ISLAND OF DOCTOR MOREAU—which, after years of expending chutzpah and actualizing willpower, the South Africa-born writer-director somehow manages to get his provocative, imaginative take on the story green-lit by New Line with Marlon Brando installed in the lead role… 

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