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  • NYC: FANGORIA Presents Free October Screening of “THE DIABOLICAL” starring Ali Larter!

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    FANGORIA will be hosting a free screening of THE DIABOLICAL, a sci-fi-tinged horror flick that will warp your reality, in New York City on Monday, October 12 at 7 p.m. This special showing will be held at the swanky Helen Mills Theater (137-139 West 26 Street), and the film’s co-writer/director, Alistair Legrand, will be introducing the film and taking part in a Q&A. THE DIABOLICAL stars Ali Larter, Arjun Gupta, Max Rose, Chloe Perrin, Kurt Carley, with Merrin Dungey and Patrick .

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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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  • “BLOODSUCKING BASTARDS” (Film Review)

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    While horror and comedy seemingly can go hand-in-hand with relative ease, the truth is that making the two genres work together is a bit more difficult than one might expect. After all, audiences are accustomed to having comic relief in a horror movie or absurd pitch black situations in a comedy film, but mostly in small doses whereas a flat-out “horror comedy” is much more of a tonal balancing act. In a worst case scenario, you either wind up with a horror movie with desperate, tone-deaf comedy or a comedy that is equally as desperate by firmly grounding itself in spoof territory. However, in better cases, such as BLOODSUCKING BASTARDS, both the tones work by serving both the horror and comedy as honestly as possible.

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  • “BACKCOUNTRY” (Blu-ray Review)

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    As far back as people have been telling stories, there’s few places that have been as integral to horror tales than the woods. Whether its the setting of a black magic ritual by a coven of witches or a backwoods murderer in a mask and overalls, the forest is one of the few places that can invoke fear in even the most ardent of fright fans. Yet for a film like BACKCOUNTRY, the scariest aspect of the woods is nature itself: the unforgiving reality of a lost couple at the mercy of the wilderness and all of its inhabitants.

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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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  • Exclusive: “POLTERGEIST” (2015) Deleted Scene Offers Icky Eeriness

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    Although calling a remake “divisive” is essentially par for the course nowadays, few ever get to the point of discussion that POLTERGEIST (2015) had upon release in late May. Going off a film that is essential to the genre, POLTERGEIST (2015) was going to come under scrutiny in almost any scenario, even if the film sported strong performances and stronger than expected scares. Now, with the film gearing up for its home media release, FANGORIA is offering fans an exclusive ominous deleted scene from POLTERGEIST (2015), which you can see below!

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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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  • Event Report: FANGORIA’s NYC Premiere of “CONTRACTED: PHASE II”; First Word on “PHASE III”!

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    There was a sinister sense of anticipation among the block-long crowd waiting for FANGORIA’s free NYC premiere of Josh Forbes’ CONTRACTED: PHASE II. The follow-up to the 2013 body horror indie sensation, buzz was building for the sequel following its sensational screening the week before at the Bruce Campbell Film Festival and the foreboding trailer that hit mere weeks beforehand. Yet few could really anticipate just what nastiness FANGORIA readers were walking into… one of the precious few being CONTRACTED: PHASE II scribe Craig Walendziak.

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  • “GREEN ROOM”, “DEMON KNIGHT” Announced for Edmonton-based Dedfest 2015!

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    While Canada hosts such eclectic and impressive film festivals such as Fantasia, TIFF and Toronto After Dark, some might forget the homegrown horror gatherings that bring the latest and greatest in fright fare to places that otherwise might find the cold shoulder. One of those smaller yet nonetheless badass festivals is Edmonton’s own Dedfest, now in it’s 8th year and ready to reveal their first wave of selections for their 2015 edition!

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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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