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  • “THE BATTERY”: What Happens when you make an Indie Horror Hit?

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    Few films garner a groundswell of support like THE BATTERY. Over the course of two years, the understated and unexpected zombie film from writer-director-star Jeremy Gardner and producer-star Adam Cronheim toured the world via film festival circuit, picking up diehards in the audience and industry alike which led directly to its new home release. The film is inspiring, revealing the independent horror community at its best and reassuring fans that a fresh, contemporary zombie film exists.

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  • FANGO Flashback: “DEAD SILENCE”

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    For contemporary horror fans, the career of James Wan has been particularly interesting. After catapulting onto the radars of genre audiences everywhere with 2004’s SAW, the fillmaker was set back by two successive box office failures in 2007, which floundered his career until 2011 low budget hit INSIDIOUS. With 2013’s massive THE CONJURING, the redemption story goes a little farther with the upcoming Wan-produced prequel, ANNABELLE. After all, Wan looks to propel the very subgenre that nearly ended his relationship with horror seven years prior: doll horror.

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  • Shadowvision: “THE WICKER MAN” (1973)

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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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  • Fantastic Fest Shorts Preview: Fredrik S. Hana’s Seaside Scare, “AUTUMN HARVEST”

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    The winner of Fantastic Fest’s 2013 Short Fuse Program, Norwegian filmmaker Fredrik S. Hana returns to Austin this year with for the World Premiere of his atmospheric seaside tale AUTUMN HARVEST. His latest is a change of setting—the winning ANGST, PISS AND DRID was a squalid, interior work of human horror, while AUTUMN HARVEST is more ethereal and nature-based—but maybe not pace. Hana is clearly focused on sensory cinema, and like several of the 2014 short films (of which FANGORIA is a proud sponsor), unfolds largely dialogue-free.

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  • “THE GUEST” (TIFF Movie Review)

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    Adam Wingard and Simon Barrett’s THE GUEST qualifies as horror for lack of any other easy genre classification (well, aside from a delightfully cheeky Halloween themed climax). The duo have delivered a project that mixes their trademark dark humor and hyper cineliteracy with elements of 80s horror, thrillers, and action flicks, topped off with a light dusting of John Carpenter. It’s a movie that Cannon Films would have been proud to slap their logo across during the neon decade and yet it also feels contemporary. The film strives for nothing more than pure, unadulterated, unapologetic entertainment and so delivers on that promise, you can’t help but sit back and smile.

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  • “SPRING” (TIFF Movie Review)

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    You’ve got to give the folks behind SPRING credit for making a film unlike any other. One could describe the movie as POSSESSION meets BEFORE SUNRISE and certainly no one has ever attempted to pull that off before. There are times when the movie is wonderfully unpredictable. There are times when the whole thing feels like a confused mess. There’s no denying however, that the film is a fascinating original vision.

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  • “CUB” (TIFF Movie Review)

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    In his feature film debut, Belgian director Jonas Govaerts has delivered what can be described as a textbook horror film. It weaves together a vast swab of genre tropes into something pitched halfway between campfire yarn and 80s slasher. In this case, that’s not a bad thing.

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