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  • FANTASTICA Presents: Law and Horror

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    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”

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    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

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    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)

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    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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  • Q&A: Jason Blum on his “BLUMHOUSE BOOK OF NIGHTMARES,” Upcoming Sequels, the “OUIJA”-“WHIPLASH” Connection and More

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    Having cornered the market on low-cost, high-profit theatrical horror, producer Jason Blum has now turned to the literary world with the just-published anthology THE BLUMHOUSE BOOK OF NIGHTMARES: THE HAUNTED CITY. The man behind PARANORMAL ACTIVITY, INSIDIOUS, SINISTER and others explores his venture into weird words, plus his upcoming films, in this exclusive interview.

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  • The Cutting Room: Vincenzo Natali talks “HANNIBAL”, “AMERICAN GODS” and more…

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    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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  • FANTASTICA Presents: Inside The Cult of Craig R. Baxley, The Prophet of Action Cinema

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    While typing up this week’s entry of FANTASTICA Presents, the thought crossed my mind that perhaps the reader might not know who Craig R. Baxley is. Of course, it was a fleeting thought that should have no merit in the real world, but in the off-chance that someone has been living some bizarre alternate reality where Craig R. Baxley isn’t a part of their immediate cinematic language alongside the likes of Steven Spielberg, John Carpenter, Stanley Kubrick and James Cameron, I might as well attempt to provide an explanation. And really, there is no better fitting explanation towards the work of Craig R. Baxley than to say that the stuntman-turned-director is nothing short of a Prophet of Action Cinema, whose contributions to the genre should not only be celebrated but worshipped as a higher power of adrenaline-fueled ascents into explosion-laden nirvana.

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  • Stream to Scream: “THE DEN”

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    While many fright fans were surprised that it took the film industry so long to bring a supernaturally charged digital horror film like UNFRIENDED to the table (FEARDOTCOM not withstanding), the reason may be more simple than you could have imagined. As every reader of this column can tell you, the internet can actually be a genuinely dangerous place, and hence, the fear that can be culled from the human horror of the ‘net has been a much more logical endeavor. And while the idea of telling a scary story from the POV of a computer screen may inherently disinterest some, those horror hounds might miss some genre gems as a result, including Zachary Donohue’s online chiller THE DEN.

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  • Crossing Over: “KABUKIMAN’S COCKTAIL CORNER”

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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: “TICKS”

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    Out of all the longtime genre filmmakers who have soldiered on year after year in the face of jaded audiences, changing marketplaces and plummeting budgets, there’s few that are as underappreciated as Brian Yuzna. An impressive director in his own right, Yuzna’s productions are completely representative of his reckless imagination, maniacal tonal shifts and unadulterated love for practical effects, and not nearly enough of his films are given the retrospective love that they deserve. And while sometimes the quality of his productions may be questionable, there’s no denying that his films are technically competent and a complete blast from start to finish, which is more than some can say about the half-baked efforts of more lauded horror masters.

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