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  • Q&A: “CABIN IN THE WOODS’ ” Fran Kranz Finds Work Sucks in “BLOODSUCKING BASTARDS”

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    BLOODSUCKING BASTARDS, the new horror/comedy directed by Brian James O’Connell and written by the improvisational comedy troupe Dr. God and Ryan Mitts, stars Fran Kranz—Marty in CABIN IN THE WOODS and Topher in DOLLHOUSE—as Evan, the only person in his boring sales office who cares about his job. His workplace becomes more professional and productive, as well as considerably more dangerous and gore-filled, when Evan’s old college nemesis Max (GAME OF THRONES’ Pedro Pascal) gets the promotion Evan thought was his.

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  • FIOFF ’15 Submissions to Die For: Timothy Hall’s “THE STUDIO”

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    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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  • Week of Wes: “THE LAST HOUSE ON THE LEFT” / “THE HILLS HAVE EYES”

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    Personally speaking, this writer feels that Wes Craven simply does not get enough credit for his versatility as a director. Many think that because several of his high-concept horror films were also notorious failures (sorry, VAMPIRE IN BROOKLYN and CURSED) that Craven is best known for being the savior of the slasher genre… twice. However, a mere look at his filmography can provide any fright fan with an ambitious, incredible filmography of truly different films: DEADLY BLESSING, THE PEOPLE UNDER THE STAIRS, SHOCKER, RED EYE; even the SCREAM quadrilogy feels different each entries’ cinematic voice.

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  • Q&A: Creators Talk the Controversial British Horror Film “THE BLOOD LANDS”

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    Sometimes events conspire to give a small film more attention than anyone anticipated. Such was the case with THE BLOOD LANDS, the low-budget British home-invasion thriller (originally titled WHITE SETTLERS) that hit Stateside Blu-ray and DVD this week on Magnolia Home Entertainment’s Magnet label.

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  • Surprise MHHFF 2015 Announcement: Rare Unrated 35mm Screening of “HATCHET” w/ live Green & Hodder Q&A!

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    Yesterday, FANGORIA and Mile High Horror Film Festival 2015 proudly announced the first wave of programming for the anticipated Colorado-based event as well as a 10th Anniversary Screening of THE DEVIL’S REJECTS with a live Sid Haig Q&A. However, for those thinking that would be it for this week’s announcements, think again, as FANGORIA is excited to report that MHHFF 2015 will be hosting a rare screening of the Unrated 35mm cut of Adam Green’s HATCHET, which will be followed by a live Q&A with Green and star Kane Hodder!

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  • Week of Wes: “A NIGHTMARE ON ELM STREET”

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    When talking about the work and legacy of Wes Craven, where does one begin? For many, the logical starting point would be Craven’s shocking years in horror exploitation, such as LAST HOUSE ON THE LEFT or THE HILLS HAVE EYES. But when you’re talking about the influence of a horror maestro whose career spanned over 40 years, where else should you begin than with A NIGHTMARE ON ELM STREET?

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  • Stream to Scream: “MOCKINGBIRD”

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    When watching a film like MOCKINGBIRD, which essentially plays as a found footage home invasion film constructed like a puzzlebox, a question arises in the head of the viewer: if a film commits so many cinematic crimes yet remains effortlessly gripping, can one consider it good? Make no mistake, even the most predictable moments of MOCKINGBIRD were tense, scary and even a bit unsettling. But for every moment that highlights the glorious aspects of using a found footage perspective, there is an equal moment of logical flaw, inconsistency and an overall problematic narrative to cancel it out. It’s an interesting dynamic, even if for the wrong reasons, and it almost feels as if MOCKINGBIRD is too tied to minimalism for its own good, even though the minimalism is what makes the film terrifying.

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  • FIOFF ’15 Submissions to Die For: Lu Ponce’s “THE NIGHT OF SAN JUAN”

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    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…

    Read more »
  • Q&A: The Creators of “TURBO KID” Talk ’80s Influences and Ironside

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    In the year 1997, amidst a postapocalyptic landscape that looks a lot like the ’80s, The Kid (Munro Chambers) is on a quest to save newly found robot companion Apple (Laurence Leboeuf), from the evil clutches of Zeus (Michael Ironside) and his gang of BMX bandits. So begins RKSS’ (Road Kill Super Stars) TURBO KID—a throwback to the old days of super-low-budget MAD MAX knockoffs.

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  • Q&A: Filmmakers and Cast Talk “POD,” Paranoia and Performance

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    Martin (Brian Morvant), a veteran with PTSD, may have a trapped a monster in the cellar of his family’s remote lake house. His siblings Ed and Lyla (Dean Cates and Lauren Ashley Carter) try to talk him out of it: There’s no creature down there; these conspiracies are part of your madness; you need help, please come with us.

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  • The Dreadful Ten: “MONSTER PARTY”‘s Top 10 British Horror Films!

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    On the latest episode of FANGORIA’s resident horror chat show MONSTER PARTY, hosts Shawn Sheridan, Matt Weinhold, James Gonis and Larry Strothe sat down with comedian Greg Proops to dig into the esteemed history of British Horror. Between the five of them, there’s nary a rock left unturned in the beloved genre exports of the UK, but for those looking for some true terror from Britain, where does one start among the many macabre titles in their discussion? Thus FANGORIA thought it would only be appropriate if the fab four of fear put together- in no particular order- their top ten British fright films of all time!

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  • FANTASTICA Presents: The Killer At Your Doorstep, or Courting the Domestic Thriller

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    One of the scariest positions a person can find themselves in is one of vulnerability. To let someone into your heart, head, or home is an unnerving proposition, and one that can get very tragic very quickly. For every good thing that could come of such interpersonal exchanges, there are millions of horrible things that can occur as well. And it seems now more than ever we live in a state of constantly being on-guard and reluctant to all the messiness of human interaction; we text our friends and loved ones instead of calling them due to a fear of awkward pauses ,and place tape over the cameras on our computers because “you never know who’s watching.”

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