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    “ALL CHEERLEADERS DIE” (TIFF Movie Review)

    Long before they made contemporary controversial horror favorites like MAY, THE WOMAN and THE LOST Lucky McKee and Chris Sivertson were a pair of fresh faced film grads who decided to shoot their first feature together. The result was ALL CHEERLEADERS DIE and though it never got much of a release, it did kick off their solo directing careers. Now over ten years later, the two filmmakers teamed up again to remake that film with, you know, production values. The result is as fun as the title suggests and as giddily violent as their subsequent directorial careers guaranteed. It’s also a bit of an artistic regression as well as a nostalgia piece, though. The movie is as messy and tonally jumbled as most first feature films, with the directors unable to tame their old concept with their acquired skills as professional filmmakers. That quality is part of the wacko charm that earned the flick a spot at TIFF’s Midnight Madness program, it’s just sadly a bit of a step back for McKee in particular.

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    “PROXY” (TIFF Movie Review)

    Ready-to-pop pregnant Esther Woodhouse (Alexia Rasmussen, pictured above) is walking home from an obstetrician’s appointment when she’s brutally attacked in the street by a hooded stranger. It is a harsh and surprisingly graphic opening—one likely to have some movie patrons running for the door—but marks only the beginning of the pitch-black psychosexual terrain to be explored in Zack Parker’s fourth feature, PROXY.

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    Q&A: “HELL BABY” Writers/Directors/Co-Stars Thomas Lennon and Robert Ben Garant

    When Thomas Lennon and Robert Ben Garant write major movies, it’s often all-ages entertainment like the NIGHT AT THE MUSEUM movies and THE PACIFIER. When they write, direct and act together in smaller projects, the results tend to be much edgier and more adult, as in TV’s RENO 911! and the new horror/comedy HELL BABY, which they discuss with Fango below.

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    “BORGMAN” (TIFF Movie Review)

    Dutch filmmaker Alex Van Warmerdam’s modern-day mythical black comedy BORGMAN was scooped up amidst much Cannes buzz by Drafthouse films earlier this year and just made its North American debut at TIFF, where Fango caught it yesterday. A strange and feisty film whose horror affiliations are more existential than overt, BORGMAN is about a handful of divine shit-disturbers, led by the title character, who turn the life of a suburban couple upside down.

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    [TIFF '13] Q&A: Hélène Cattet & Bruno Forzani Preview Giallo, “THE STRANGE COLOUR OF YOUR BODY’S TEARS”

    Crafting a form of experimental neo-gialli that seems even less interested in narrative logic than the 70s style it’s recalling, filmmakers Hélène Cattet & Bruno Forzani have been long overdue for a new work in their brand of stirring, sensual, psychedelic cinema. Following the lasting impression of 2009’s AMER, and sheer teasing of THE ABCs OF DEATH entry, “O for Orgasm,” they’ve set upon the Toronto International Film Festival this year with an all-time giallo title and a film—as the teaser so visualizes—sure to blow minds. FANGORIA spoke with the pair for a preview of what to expect from THE STRANGE COLOUR OF YOUR BODY’S TEARS.

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