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    The Dreadful Ten: 10 Horror Villains Who Deserve A Comeback

    While sometimes the horror community can have a bit of a kneejerk reaction to news of remakes, reboots, what-have-you, the simple fact is that they’re not going anywhere. But this writer can certainly understand such polarized responses; after all, what is horror cinema but a genre defined by its icons? Universal Monsters, the slashers of the ‘70s and ‘80s, creepy creatures we know by name: our need for new boogeymen has fueled some of the most iconic nightmares in cinematic history.

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    FIOFF ’15 Submissions To Die For: Marc Roussel’s “THE LAST HALLOWEEN”

    Welcome to SUBMISSIONS TO DIE FOR, the latest column focusing on highlights among the FANGORIA International Online Film Festival Submissions. While being featured on this column does not guarantee selection in the FANGORIA International Online Film Festival, SUBMISSIONS TO DIE FOR features some scare fare worth keeping an eye on…

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    FANGO Flashback: “LAND OF THE DEAD”

    In a world where terms such as “zombie apocalypse” and “Z-Day” rest comfortably within the mainstream vernacular, it’s nearly impossible to imagine a time when the shambling, biting corpses that we know and love/loathe weren’t a common presence in the horror landscape. Though the earliest depictions of zombies in cinema can be traced back to 1932’s WHITE ZOMBIE, many place the birth of the modern zombie in the 1968 black-and-white classic NIGHT OF THE LIVING DEAD, and consider the film’s director, George A. Romero, the godfather of the zombie subgenre.

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    Stream to Scream: “MURDER PARTY”

    If one were to look at Jeremy Saulnier’s contemplative revenge opus BLUE RUIN or his upcoming punks-vs-skins siege flick GREEN ROOM, you might be hard pressed to believe that his freshman outing as a filmmaking was something much more rooted in horror comedy territory. But this is most definitely the case when it comes to 2007’s MURDER PARTY, a bloody and bizarre horror story with a script that is as sharp as the murderous tools within it. And while the humor is quite often dry and pitch black, Saulnier’s directorial debut is nonetheless a hilarious skewering of pretentious modern art culture taken to extremes, and the character work on display here laid the groundwork for BLUE RUIN and beyond.

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    Q&A: Director Mark Neveldine Goes Back to Hell With “THE VATICAN TAPES,” Part Two

    Continuing our conversation with Mark Neveldine, the co-director of the crazed CRANK saga who has now gone solo to helm the possession chiller THE VATICAN TAPES, opening this Friday, July 24 from Pantelion Films and Lionsgate (see part one here)…

    FANGORIA: What were the difficulties in staging the big exorcism scene?

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    FANTASTICA Presents: Law and Horror

    You’ve seen it before, you’ll see it again and you’ll see it coming from a mile away. It’s one of the most familiar plot devices in horror history: a family (or a married couple) will have just come in contact with some sort of malevolent force, and now, one of their own is injured or missing at the hands of said evil. Suddenly, someone grabs a phone, and without fail, someone will ask them who they’re calling. “We need to call the cops,” they’ll scream, exhausted and desperate by the ordeal. Suddenly, the phone is taken out of their hands by their loved one, who looks at them and spouts out a variation on the same line: “What are we going to tell them? _____ did this to our home? What will they think?” And with that simple line, the family (or couple) must turn to an outside source- often times an eccentric-type- to help them save their child and their lives.

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    FANGO Flashback: Lucio Fulci’s “CITY OF THE LIVING DEAD”

    If it’s not an endurance test on your gag reflex, then a Fulci film it is not. The Italian master of gooey, gory cinema, Fulci may not be known for having the most ironclad stories in horror history as films like CITY OF THE LIVING DEAD run low on sense and high on intensity. Conversely, Fulci embraced the power of dream logic, using it as a launching point to tell tales of suspense and fear with beautiful visuals, nail-biting set pieces and a sheer disregard for good taste. And as any fan of the bonkers, occasionally long-winded CITY OF THE LIVING DEAD can tell you, Fulci puts his heart and soul into every frame of his films, which allows them to resonate and build his cult following even today.

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    The Cutting Room: Neil Gaiman talks “AMERICAN GODS”, Bryan Fuller’s Adaptation and Sequel Novel

    Welcome to THE CUTTING ROOM, a new weekly column on FANGORIA.com that highlights the stories that most share DNA of our print counterpart. Rather than just feature the features, articles and interviews that didn’t make the cut, this column is dedicated to providing a greater lifeline between FANGORIA Magazine and FANGORIA.com.

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    Stream to Scream: “HABIT” (1995)

    When a name like “Larry Fessenden” comes to mind, many different people can think of many different things. To some, Fessenden is a virtuoso character actor, slipping into small yet great (and often charismatic) roles into a myriad of horror projects, whether it be a lead role in Glenn McQuaid’s I SELL THE DEAD or a scene-stealing cameo on an episode of THE STRAIN. To others, Fessenden is a miniature magnate of independent horror, with his Glass Eye Pix production company helping launch the careers of Ti West, Jim Mickle and many more. But what Fessenden should be best known as is one of the best independent directors in the genre today, and an excellent example of that reputation is his 1995 psychosexual vampire film, HABIT.

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