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  • 30 for 31: “THE HOWLING”

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    The Season of the Witch is upon us, ye ole FANGORIA Readers! And to many, Halloween means candy, costumes and creepshows of all sorts. But to the staff at FANGORIA, Halloween can mean something more entirely. Therefore, we present 30 FOR 31, in which FANGORIA recounts the cinema that most strongly represents what Halloween means to us.

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  • Exclusive: Eduardo Sanchez of “EXISTS” and “LOVELY MOLLY” talks rave horror “MAULERS”

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    With his Bigfoot thriller EXISTS (pictured) set for limited theatrical and VOD release from Lionsgate October 24, director Eduardo Sanchez (whose previous movies include THE BLAIR WITCH PROJECT and LOVELY MOLLY) has further horrors in the hopper, and gave FANGORIA the details on one called MAULERS.

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  • “THE INCIDENT (EL INCIDENTE)” (Fantastic Fest Review)

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    “I wrote this film to conjure up my own fear of dying,” Ingmar Bergman once said of THE SEVENTH SEAL, his peerless exploration of mortality, faith, and the towering, immutable mysteries of existence—and by the time we reach the revelatory final third of the harrowing and profound Mexican mindbender THE INCIDENT, wherein the philosophical speculations and meditations hinted at throughout seemingly separate parallel stories at last intertwine into an disquieting (yet strangely uplifting) denouement, it is difficult to believe director Isaac Ezban did not have a similar goal in mind.

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  • 30 for 31: “NIGHT OF THE CREEPS”

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    The Season of the Witch is upon us, ye ole FANGORIA Readers! And to many, Halloween means candy, costumes and creepshows of all sorts. But to the staff at FANGORIA, Halloween can mean something more entirely. Therefore, we present 30 FOR 31, in which FANGORIA recounts the cinema that most strongly represents what Halloween means to us.

    Read more »
  • Shadowvision: “THEY LIVE”

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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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  • “SONNO PROFONDO” (Movie Review)

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    The following might very well be the shortest review you’ll read here at Fango this month. It’s not because SONNO PROFONDO (DEEP SLEEP) — a new Argentinian psychodrama from writer, composer, photographer and director Luciano Onetti — is a bad movie. It’s not. It’s actually not a movie at all really, in the traditional sense anyway.

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  • Q&A: Katie Cassidy on “THE SCRIBBLER”

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    It’s an exciting landscape these days in independent filmmaking. Thanks to advances in digital filmmaking, more ambitious yet reasonably affordable films are being greenlit every day. Yet in these films, not only do we get to meet new, resourceful filmmakers but we  get to see more established actors experiment with their craft as well.

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  • Colin Farrell Confirms “TRUE DETECTIVE” Season Two Role!

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    When HBO’s TRUE DETECTIVE launched earlier this year, few (including FANGORIA) could have predicted just how far into genre territory the series would venture. In fact, many horror fans have praised the season finale of TRUE DETECTIVE as one of the best hours of horror television this year, standing among horror procedurals such as SILENCE OF THE LAMBS and SE7EN. And with the series adopting the “seasonal anthology” format, speculation has run wild with where the series can go from here and if we should expect that genre element to return.

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  • “IT FOLLOWS” (Fantastic Fest Review)

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    The concept that drives writer/director David Robert Mitchell’s unnerving horror film IT FOLLOWS is obvious in its allegory and certainly, the idea of evil VD has been mined since David Cronenberg literally spat out his sex parasites in 1975’s THE CAME FROM WITHIN (aka SHIVERS). Here, in IT FOLLOWS, it’s not the metaphorical frissons that affect the viewer, rather it is the economical ways in which its director uses sound, silences and framing to seep under the audience’s skin. And believe us, IT FOLLOWS, much like the spectral STD it introduces, leaves an unshakable residue long after withdrawal.

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