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  • Q&A: Director Dan Bush on “THE RECONSTRUCTION OF WILLIAM ZERO”

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    If there’s been a visible trend in the recent sci-fi/horror output as of late, it’s the theme of doubles. Whether it’s doppelgangers, dimensional anomalies or something far more sinister, the idea of two opposing sides of a biological coin has been one that has tapped into the multifaceted nature of the digital age and our seemingly scientifically unbound future. And while identity crisis is nothing new for director Dan Bush, who shared similar conceits in his break-out film THE SIGNAL alongside directors David Bruckner and Jacob Gentry, Bush tackles those themes and concepts outright in his latest film, the contemplative sci-fi thriller THE RECONSTRUCTION OF WILLIAM ZERO. Bush recently spoke to FANGORIA about WILLIAM ZERO, his work post-SIGNAL and putting together a spectacular cast, including THE SACRAMENT’s Amy Seimetz and THE WALKING DEAD’s Melissa McBride…

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  • Nightmare Anniversary: 10 Years of “THE DEVIL’S REJECTS” and its Southern Fried Soundtrack

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    Welcome to Nightmare Anniversary, where FANGORIA looks back at film’s celebrating special anniversaries this year and toast to the times in which they were released. What skeletons remain in the closet of the fright films we love so dearly? That’s what Nightmare Anniversary aims to dig up.

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  • “ROAR” (FANTASTICA Film Review)

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    “The road to hell is paved with good intentions.” A simple yet effective phrase that not so subtly implies that bad ideas that lead to worse consequences are often rooted in a generally positive thought. And while that phrase is often applied to more dire situations, the phrase can also be applied to Noel Marshall (and friends…)’s ROAR, especially if your idea of hell is an isolated house filled and surrounded by wild, untrained lions and tigers.

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  • FREE NYC screening of sci-fi thriller “TIME LAPSE” on May 11!

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    FANGORIA and STARLOG will host a free screening of festival fave TIME LAPSE, the new Hitchcockian sci-fi thriller, in New York City on Monday, May 11 at 7 p.m. This special showing will be held at the Cinema Village (22 East 12th Street, off University Place). Directed and co-written (with B.P. Cooper) by Bradley King, TIME LAPSE stars Matt (FRAILTY) O’Leary, George Finn, Danielle Panabaker (from the FRIDAY THE 13TH and THE CRAZIES remakes) and John Rhys-Davies of the LORD OF THE RINGS trilogy.

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  • “JUDAS GHOST” (Film Review)

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    In the surge of haunting films coming out of the independent horror landscape as of the past few years, the struggle for originality has become harder and harder. Of course, many of these films have become reliant of jump scares, familiar imagery and a wealth of off-screen demises to mask the unfortunate limitations of their budget. However, a rare few of these films are approached with ambitious stories with genuinely unique scares, and the filmmakers are so enamored with those tales that they tackle them head on, despite their budgetary restrictions. And in that experience lies something much more gripping, imaginative and chilling, and is what makes Simon Pearce’s JUDAS GHOST such a welcome addition to the haunting film canon.

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  • Shadowvision: “MARY SHELLEY’S FRANKENSTEIN”

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    Welcome to Shadowvision, a regular column in which Fangoria.com revisits modern horror films in black-and-white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition

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  • FANTASTICA Presents: The Empire Way, or Retro Mockbuster Master

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    Among the horror community, as well as savvy film goers in general, the production entity known as The Asylum has either one of two definitions. The first definition, and most common, is that of a rip-off artist, using similarly titled and themed premises to big budget films to release to crowded video marketplace to prey off of the confused and inattentive. The other, and more complimentary, is that of a new age schlockhouse, blending the economic strategy of New World Pictures with the needs of the “so bad its good” subculture to create these so-called “mockbusters”.  And while both definitions have their supporters, the one thing The Asylum doesn’t get (and almost proudly so) is respect, even if their post-SHARKNADO success has earned it begrudgingly from the industry itself.

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  • “BODY” (Stanley Film Festival Review)

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    With contemporary horror, the approach by many filmmakers in the independent and studio system is that to please hardcore fright fans, they have to go for broke. By heightening so many aspects of a film, from gory SFX to the body count to the stylized visuals of the film, these filmmakers guarantee somewhat of a target audience to appreciate their film, even if the story can’t stand on its own merit. But there’s almost an equal amount of filmmakers who subscribe to the “less is more” mentality, although many find this as a way to pad out their budgets and push the limitations of the term “slow burn.” Yet for some horror filmmakers, simplicity is a weapon: by cutting out the bullshit, you keep the options of the filmmakers and the characters limited, which creates an intense, almost claustrophobic atmosphere to the film and leads to some incredibly intimate interpersonal drama.

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