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    MICHAEL SLADE TALKS E-BOOKS AND NEW “SPECIAL X” NOVEL

    Slade (left) with Paul Landers of Rammstein

    It’s no secret that your humble EIC is obsessed by the gritty, fascinating and despicably violent psychosexual novels penned by Canadian literary entity Michael Slade (aka the pseudonym of former Vancouver criminal lawyer Jay Clarke). For over three decades, Slade has been crafting dense, pulp thrillers surrounding the serial killer profiling Special X, an RCMP run outfit that consistently runs afoul of perverse madmen (and women) in classic tomes such as HEADHUNTER, GHOUL, HANGMAN, RED SNOW, DEATH’S DOOR and CUTTHROAT; extensively researched , historically accurate amalgams of high art and exploitative trash.

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    NYC! Meet the Lady is Back with an Evening of STALKER CINEMA this Friday!

    One of New York’s most colorful performance-based events, MEET THE LADY tribute series dedicated to cinema’s leading ladies turns its attention this week to some of the big screen’s most memorable female obssessives with MEET THE LADY IS WATCHING YOU – where a throng of special guests will explore the dark and sometimes campy delights of women who won’t take no for an answer.

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    Exclusive Interview: Myth and Reality – The Art of Dying with Joe Coleman

    Perhaps one of the most interesting and challenging artists working in modern portraiture , Joe Coleman brings us ecstatic visions of martyrdom and myth. His paintings tell the stories of the life and often tragic death of his subjects whom he culls from the dark side of pop-culture. Dark celebrities. Serial killers. Mad artists. All have had their bodies and lives examined through Joe’s unique eye.

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    Q&A: “WITCH DOCTOR” scribe Seifert on “MALPRACTICE,” “HELLRAISER”

    Brandon Seifert has come a long way in a very short time. With his partner-in-crime Lukas Ketner, they turned their supernatural/medical creation, WITCH DOCTOR into one of the most well received new series in the past two years. With the second arc, MALPRACTICE, well underway, Seifert is also finding himself penning such iconic works as HELLRAISER for Boom Studios and DR WHO for IDW. Though relatively new to the comic scene, he has shown a talent for story and dialogue that has continued to spur his popularity. He recently sat down with Fango to talk magic, mayhem, and medicine. 

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    Cemetery Dance editor launches eHorrorBargains.com

    With the transition from paperbound books to e-readers en masse, horror novels have become even more accessible to consumers, although sometimes it takes a sharp eye to find the most blood for your buck. However, shopping for good, inexpensive terror titles has become easier than ever, thanks to Cemetery Dance editor Brian Freeman’s new site, ehorrorbargains.com.

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    Fangoria Exclusive: Steve Niles talks FINAL NIGHT and EYES OF FRANKENSTEIN

    It has been a trying four months for Steve Niles’ comic creations CRIMINAL MACABRE and 30 DAYS OF NIGHT. Not only have the two series been fighting to the death in the appropriately titled crossover, FINAL NIGHT (out from Dark Horse) but the “loser” has the added pressure of being put in permanent retirement. While fans have been biting their nails in anticipation, Niles has been keeping the outcome a tightly kept secret. Until now. With the release of the final issue this past Wednesday, we finally find out which of the two will live to see another run. Steve Niles recently sat down with FANGORIA in an exclusive interview about the ending of one series, the continuation of another, and all the little bits in between.

    * WARNING: SPOILERS AHEAD! *

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    Cigarette Burns Cinema reveals new Silver Ferox event poster for “Let’s Scare Jessica to Death”!

    35mm enthusiast Josh Saco puts on some of the most drool-inducing exploitation and horror events in London (UK) under the banner “Cigarette Burns Cinema” (like their Facebook page HERE!), with monthly screenings at The Rio, bi-monthly screenings at The Prince Charles as well as a bevy of special one-offs featuring rare 35mm prints spanning an impressive list of faves including PROFONDO ROSSO, THE KEEP, PSYCHOMANIA, WHO CAN KILL A CHILD?, EQUINOX, MS. 45 and more – always featuring amazing custom poster art by Silver Ferox and friends (see the gallery of all the previous posters HERE)

    After a screening of one of the unsung classics of the 80s slasher canon – Fred Walton’s APRIL FOOL’S DAY – next Friday April 4th (details HERE), next up on the Cigarette Burns calendar is John Hancock’s moody madwoman film LET’S SCARE JESSICA TO DEATH (full disclosure: it will be introduced by yours truly) on Thursday April 18th at London’s ICA Gallery (details and tickets HERE).

    To commemorate the event, Silver Ferox has turned out a STUNNING retro poster which you can see above.

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    “AS I KNEW HIM: MY DAD, ROD SERLING” (Book Review)

    When discussing classic sci-fi/horror/fantasy television, ardent fans of THE TWILIGHT ZONE almost always come up against the camp that see your ZONE and raise you an OUTER LIMITS. Some may even dare say they prefer ONE STEP BEYOND or even on the similar Rod Serling tip, NIGHT GALLERY. But true ZONE heads are such not just because of the silvery black and white photography, skin-crawling theme music, nor the assorted aliens, monsters, shape shifters, murderous dummies and devils that gave the program it’s hook. Rather, they hold the show high because of Serling’s pen, because of his philosophies, his morality and his humanity. Because of course, THE TWILIGHT ZONE was never really about those trappings or narrative twists, it was about the folly of man, the belief that people are fundamentally good and that human evil is a perversion of prejudice. It was about both the wit and the somewhat broken heart of the man who built the house that stood on CBS’ prime time hill between 1959 and 1964.

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    EXCLUSIVE FANGO mixcloud comp COME OUT AND PLAY

    Here’s a little compilation I made for FANGO’s mixcloud player on the eve of the North American release of COME OUT AND PLAY, the elusive Makinov’s remake of Narciso Ibañez Serrador’s WHO CAN KILL A CHILD?. Music that, for me, evokes the dark side of playground songs, childhood pathology and dogmatic ambivalence, but also celebrates the unique childhood imagination.

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