LOGO
  • ,

    Los Angeles’ inaugural Beyond Fest announces lineup; FANGORIA Presenting British Invasion Night!

    Aiming to present the best in “horror, sci-fi and badass cinema” at L.A.’s American Cinematheque this October, Beyond Fest is something of an astounding lineup of top contemporary genre films curated alongside massive repertory titles and special events like concerts and an all-night horrorthon, all presented by collective Amity, Death Waltz Recording Co. and featuring a thrilling roster of filmmakers and artists including legendary prog-rockers and Argento collaborators Goblin, Clive Barker, NEKROMANTIK’s Jörg Buttgereit, Joe Dante, Richard Donner and more. What’s more, FANGORIA will be on hand for a special evening of British terror with Ben Wheatley’s highly anticipated A FIELD IN ENGLAND and the U.S. premiere of the acclaimed UK feature, THE BORDERLANDS.

    Read more »
  • ,

    Julie Adams talks “CREATURE FROM THE BLACK LAGOON”; special 3D Chicago screenings

    Long beloved for her strong and compassionate portrayal of heroine Kay Lawrence in 1954’s classic CREATURE FROM THE BLACK LAGOON, the eclectic Julie Adams has had an rich career in film, television and theater. Adams recently collaborated on the heartfelt memoir THE LUCKY SOUTHERN STAR: REFLECTIONS FROM THE BLACK LAGOON with her son, Mitch Danton, and in celebration of the book’s rave reviews and CREATURE’s upcoming 60th anniversary, the two will attending a pair of special 3-D showings of the film this Saturday, September 28 at Chicago’s historic Patio Theater (see details below).

    Read more »
  • ,,

    “LOVE ETERNAL” (Fantastic Fest Movie Review)

    In the opening scenes of LOVE ETERNAL, Ian Harding (a tender, troubled Robert de Hoog) spends his formative years among the dead. As a child, he plays with his father, running out of range of their walkie-talkies. When he returns, the man lays dead, seated outdoors. Later, midst puberty, Ian finds a popular girl from school hung by her own hand out in the forest. He visits the body endlessly, converses with it– forms a bond. Between these two significant moments in Ian’s life is a main titles sequence that elegantly strides through the countryside. Trees, caves, cliffsides and soil are as much of his foundation as the corpses he finds and socializes with. His conclusion and ours is obvious. Death is natural.

    Read more »
  • ,

    “AMERICAN HORROR STORY: COVEN’s” Main Titles are the Series’ Best Yet

    While I’m sure it speaks to personal taste, it seems the always enticing opening credits of AMERICAN HORROR STORY have reached an apex. A kaleidoscopic journey through witchy symbols, voodoo spells, demonic art, intense costume design, stag heads and pagan rites , the dark groove is even more subdued and the black magick style makes one wish the entire series would be this woodsy and off-putting. Previous comments from creator Ryan Murphy have hinted towards a lighter tone after the often punishing ASYLUM, but if any of the present aesthetic makes its way in, this is 100% exciting. 

    Read more »
  • ,,

    Exclusive video: Jim Mickle and Nick Damici talk “WE ARE WHAT WE ARE”

    Adapting the Mexican cannibalism drama for the English language and upstate New York locations, writer/director Jim Mickle and writer/co-star Nick Damici have crafted one of this year’s very best horror films in WE ARE WHAT WE ARE. Yours truly sat down with the duo for an exclusive FANGORIA video interview.

    Read more »
  • ,,

    FANGO Flashback: “THE WICKER MAN” (1973)

    “The [WICKER MAN] negative has disappeared and has never been found,” Christopher Lee told me over tea in November 1992. “I wanted to recut the picture, to put in a lot of things that we shot and take out some of the scenes that were in the film. That negative, those outtakes, have never been seen again. Never. I happen to believe they were hidden. [WICKER MAN producer] Peter Snell says he was shown a hole in a road with a lot of cans of film in it, and they said amongst those cans of films was THE WICKER MAN negative…If I could lay my hands on that film now, and we could recut it, it would be a masterpiece.”

    Read more »
Back to Top