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  • FANGO Flashback: “SHOCKER”

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    One of the things this writer loves so very much about Wes Craven’s filmography is that, when left to his own devices, Craven was not afraid to go absolutely crazy with his work. In that sense, several of Craven’s films throw caution to the wind as irreverent humor, dream logic and bloody horror run wild in an orgy of cinematic madness, such as THE PEOPLE UNDER THE STAIRS, NEW NIGHTMARE and SHOCKER. And in terms of the latter, Wes Craven uses his unique and twisted sensibilities to try to create a new horror icon, notedly as a response to the franchise from which he was exiled from, A NIGHTMARE ON ELM STREET.

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  • Deaditorial: Faith in Fright, or The Importance of Religion in the Horror Genre

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    It’s been over 40 years since it became a worldwide theatrical phenomenon, and still to this day, if you ask any person the scariest horror movie they’ve ever seen is, there’s a more than likely chance they’ll say THE EXORCIST. One of the main reasons this might be their answer is pretty simple: THE EXORCIST is a master class in horror filmmaking from all parties involved. However, one of the other main reasons you hear that title so frequently is that THE EXORCIST did something that JAWS, THE BLAIR WITCH PROJECT and A NIGHTMARE ON ELM STREET did not: it made a monster out of The Devil.

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  • Crossing Over: “THE FURY”

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    Welcome, FANGORIA Readers, to CROSSING OVER, our newest column that highlights the films, series and content out there outside of horror that is fashioned towards or pays tribute to our beloved genre. By shining a light onto these projects, FANGORIA hopes to open a world of entertainment perfect for fright fans that lies just beyond the borders of the horror community. So without further ado…

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  • FANGO Flashback: “AN AMERICAN WEREWOLF IN LONDON”

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    AN AMERICAN WEREWOLF IN LONDON is one of the rare horror offerings that has near unlimited replay value, primarily because you’re bound to find something new to appreciate about the film with every subsequent viewing. This applies even beyond the in-jokes and moon/werewolf-related visual gags, but even in terms of performances and dialogue, as picking up subtle inflections and cinematic beats can change the dynamics of a scene entirely. For a genre that rarely provides such layering, especially in the horror comedy subgenre, it’s no wonder why AMERICAN WEREWOLF stands the test of time so well.

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  • Eerie Episodes: “THE HUNGER: Season 2, Episode 1” (1999)

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    While horror hounds might be more familiar with David Bowie and Tony Scott’s moody, macabre vampire film THE HUNGER, far less are familiar with their reunion on the second season premiere of THE HUNGER. While unrelated to the film in content, the themes and visual style are quite similar on the series, which is closer to a Gothic horror anthology in nature produced by Scott Free in the late ‘90s and aired on Showtime. And in the first episode of the second season, entitled “Sanctuary,” Bowie returned in front of the camera for Tony Scott, playing Julian Priest in an episode of horror television that is as creepy as it is bold and strange.

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  • Stream to Scream: “EXCISION”

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    For this writer, Richard Bates Jr.’s EXCISION is one of those essential genre titles that operate close to the vein of horror comedy and yet don’t quite follow the horror-comedy mold. Much akin to William Friedkin’s KILLER JOE and, to an extent, Daniel Waters’ HEATHERS, EXCISION carries a mean-streak and matter-of-fact presentation of its darker, disturbing material that feels less conventional and yet completely humorous in execution. And furthermore, EXCISION is the kind of film that features an old school vibe in that it moves and is stylized at its own pace, giving characters their own moments to live and breathe within the universe while presenting artistic flourishes that feel unique and different from other depictions of internal fantasies.

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  • For Your Consideration: The 2016 Chainsaw Award Nominees for Best Foreign Language Film!

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    With voting season now open on the FANGORIA Chainsaw Awards, fans are putting their minds at work to select their favorites out of every potential nominee. When it came to the Best Foreign Language Film category, there was some argument as to what technically counted for the category, eventually disqualifying technically-released-in-2015 film ANGST (due to it’s 1983 production) and WHITE DOG. Meanwhile, The Mo Brothers’ KILLERS and the anthology film MEXICO BARBARO were also in contention, but eventually were bumped out by its creepier competition. And after some careful consideration, FANGO found five fright flicks worthy of taking home the Gold Chainsaw.

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