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    The Year in Horror, 2013: Chris Alexander’s Top Films

    One of the pleasures of loving horror cinema is defining exactly what a horror movie is. Let’s face it, many of our most beloved morbid masterpieces were not considered horror films by their helmers, the very word “horror” deemed to be a grotty ghetto bottom feeder genre by many. To me, horror is that swelling feeling of dread and terror. It’s the sadness of death, the misery of shocking violent death, the anxiety about the “other”—whether an external, or internal, threat—and often, just the sheer phantasmagorical punch of seeing things that do not, and cannot exist, in the natural world suddenly run rampant before our eyes.

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    The Year in Horror, 2013: Sam’s Top Films

    2013: a year in which I loved a lot of films, but treasured only one.  I’ve carried STOKER with me through all twelve months, having been swept up in Chan-wook Park’s artistry on a very early January morning in Park City, Utah. I entertained the possibility then, that a full calendar could yield something as stunning (many came close), but I knew. I knew this engrossing, prodigiously composed and entirely warped gothic tale of understanding yourself and who you come from would take it all. Thus, similar to last year, it’s not very fruitful to assign meaningless numbers to this list. If anything stands above, it’s STOKER. The films that proceeded to make incredible impact shouldn’t be delineated by anything other than alphabetical order.

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    Close Encounters with Abel Ferrara

    As many of you may know, Drafthouse Films is re-releasing somewhat forgotten exploitation classic, MS. 45 (in select theaters this Friday, including one hosted by FANGORIA’s own Michael Gingold in Yonkers) from the prolific and gritty independent legend Abel Ferrara. Upon hearing this, I was quite excited, as I have always been a fan of Mr. Ferrara’s work and this had been especially hard to track down. Yet, while fishing for details regarding the release, I told my FANGORIA cohorts that my history with Abel was not merely one of fandom. Through a series of weird events, I had not only had several weird run-in’s with Mr. Ferrara, but had actually at one point directed him as an actor.

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    Q&A: Sonja Kinski talks “DIAMOND ON VINYL”

    When you sport the surname Kinski, preconceptions of your character will follow. Just ask Sonja. The talented, beautiful young actress and model is the daughter of TESS and CAT PEOPLE star Nastassja Kinski and the granddaughter of the late, towering, talented and by all accounts rather mad Teutonic acting legend Klaus Kinski (NOSFERATU PHANTOM DER NACHT, FITZCARALDO, THE GREAT SILENCE and CRAWLSPACE, recently re-released on Blu-ray by SCREAM Factory). It goes to follow that when people learn of the younger Kinski’s lineage, fascination and maybe even intimidation will get the better of them. This writer, an ardent admirer and obsessive of the elder Kinski’s work especially, admits to such nerves when  he found himself depressing a series of buttons that made up her phone number for a scheduled interview last week.

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    FANGORIA Flashback: “THEY LIVE”

    Would you bite the hand that feeds you? What if that hand belonged to an extraterrestrial force that controls your mind via consumerism? That’s the question on the mind of genre maestro John Carpenter in his satirical alien-infiltration thriller THEY LIVE, which is being screened for one week only for its 25th anniversary at New York City’s IFC Center (323 Avenue of the Americas at West 3rd Street) starting Friday, December 6. In commemoration of that anniversary, FANGORIA takes a look back at Carpenter’s hybrid of clever science fiction, intense horror and kick-ass action.

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    Q&A: Damien Leone on “ALL HALLOWS’ EVE” and “FRANKENSTEIN VS. THE MUMMY”

    Writer/director/special FX artist Damien Leone recently enjoyed the Halloween DVD release of his first feature, ALL HALLOWS’ EVE (reviewed here), an anthology comprised of three shorts strung together by the appearance of a demonic clown. His next feature brings together two even more archetypal horror characters: FRANKENSTEIN VS. THE MUMMY. Leone recently spoke to FANGORIA about how ALL HALLOWS’ EVE came to be, struggling to create great FX with very little money, the creation and future of Art the Clown and how he’s reimagining classic creatures.

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    Blood in the Snow 2013: Zach Ramelan Talks Zombie Short, “DEAD RUSH”

    Premiering at Toronto-based and Fango and TIFF-approved Blood in the Snow Canadian Film Festival tomorrow as part of its short film program, is DEAD RUSH. Filmmaker Zach Ramelan’s breakneck first person zombie assault is a blood dripping bit of mayhem that is as much an exercise in terror as it is a textbook case how to get the biggest bang for your humble filmmaking buck. As the fest kicks into full gear tonight, FANGORIA pulled Ramelan aside to congratulate him and pick his still uneaten brain about making a monster movie that moves on a grocery bill budget.

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    Toronto: Top Five Flicks to Catch at Blood in the Snow 2013

    The second year of fledgling Canadian horror film festival BLOOD IN THE SNOW is upon us, running from Friday November 29th – December 1st in Toronto at the legendary Carlton Cinemas, nestled beside the now dormant Maple Leaf Gardens. The event is co-sponsored by FANGORIA, Anchor Bay Canada and endorsed by the Toronto International Film Festival. Within, there are plenty of diverse indie Northern fright features (and a cavalcade of dynamic shorts) to choose from in the lineup, but we’ve whittled the long list down to five of our favorites.

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    Exclusive Q&A: Elizabeth Olsen talks “OLDBOY”—and “GODZILLA”

    Having first made her name in the cult drama/thriller MARTHA MARCY MAY MARLENE and then spent 88 real-time minutes terrorized in the SILENT HOUSE, Elizabeth Olsen is back exploring the dark side in OLDBOY. FANGORIA got the chance to sit down with the actress to chat about Spike Lee’s remake, and get a few words about her involvement with the new GODZILLA.

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    Last Night of the Scarecrow Video?

    Earlier this month, it was announced that Blockbuster Video would close its remaining stores for good, having been taken out by the plentiful Redbox kiosks and streaming operations such as Netflix. I was not saddened in the least by this news; over the last two decades, Blockbuster helped drive many independently owned rental stores out of business. I consider myself lucky that I did not have to go through life only having Blockbuster to rely on for my movie-watching needs, because in my neighborhood exists one of the biggest rental libraries in the world, Seattle’s Scarecrow Video. But in a world where the destroyer of video stores has been destroyed, Scarecrow is struggling to stay afloat.

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