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    Q&A: Janet Montgomery on the salacious, sinister “SALEM”

    For every weird, wild and wicked place that SALEM goes over the course of its second season, there’s few elements that bring it back to Earth as effectively as the presence and gravitas of Janet Montgomery, the British actress who provides one of the most emotional and effortlessly evil performances on WGN America’s flagship program. And with the next episode, the Joe Dante-helmed “The Beckoning Fair One”, looking to reshape everything we thought we knew about SALEM, Montgomery spoke to FANGORIA about her role on the show, challenges in the second season and getting physical in the impending witch war…

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    Help Finish Troma’s “RETURN TO NUKE ‘EM HIGH, VOLUME 2″, plus Release Info!

    Having provided the independent film scene with 40 years of splattery, shocking cinematic anarchy, there’s few genre-minded companies that feel like family to FANGORIA as Troma does. And with Tromadance, acquisitions and a slew of proposed remakes of his original satirical schlock, Troma headmaster Lloyd Kaufman is busier than ever. However, doing things the independent way takes time, and as so many filmmakers know, time and money go hand and hand, which is why Kaufman and the Troma Team have turned to crowdfunding to finish post-production on their biggest and boldest production to date: RETURN TO NUKE ‘EM HIGH, VOLUME 2!

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    Q&A: Director Belinda Sallin Explores “DARK STAR: H.R. GIGER’S WORLD”

    In DARK STAR: H.R. GIGER’S WORLD, documentarian Belinda Sallin takes the viewer inside the home and mind of the late artist and designer of ALIEN, SPECIES and Alejandro Jodorowsky’s unmade DUNE—from an exploration of his garden, which includes a dark ride with tracks, to the interior of his house, with its pitch-black walls and a dense interior space of inspiration, art and skulls.

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    Exclusive Still, Q&A: “CABIN IN THE WOODS” star Anna Hutchison hits the road in “WRECKER”

    While the road thriller is nothing new to the horror genre, one must admit that there are only few driven by female protagonists. Of course, with high-speed chases, hot-running motors and testosterone-fueled stunt work, that side of the horror genre has been primarily targeted at male audiences for decades now.

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    “THE FINAL GIRLS” (Movie Review)

    THE FINAL GIRLS is part of the meta-horror canon, alongside SCREAM, BEHIND THE MASK: THE RISE OF LESLIE VERNON, TUCKER & DALE VS. EVIL and CABIN IN THE WOODS, in which the characters are hyper-aware of the horror-movie mythology they inhabit and are thus granted the ability to change the very structure of the trope. Not as arch as the aforementioned films, THE FINAL GIRLS (which won the Audience Award at the recent Stanley Film Festival) has a surprisingly affecting emotional core, built on the chemistry between actresses Taissa Farmiga and Malin Akerman.

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    The Dreadful Ten: The Darkness’ Top 10 Horror Films of All Time!

    While FANGORIA usually reserves our Dreadful Ten column to show off the tastes and sensibilites of FANGORIA’s staff and contributors, this week is devoted to a special guest whose fandom of horror is as potent as their passion behind the microphone: Justin Hawkins, the lead vocalist and guitarist of the hard rock group The Darkness. With their fourth album, LAST OF OUR KIND, hitting shelves on June 2nd, Hawkins and FANGORIA got together to talk horror, and the high-pitched frontman revealed his top 10 horror titles of all time. So without further ado…

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    “STIGMATA” (Blu-ray Review)

    Unfortunately, one of the most accepted theories on the history of horror was that the ‘90s was a dark decade for the genre. While this might not necessarily be true, this writer understands why some might believe it to be so, considering there was so much in the zeitgeist meant to appease the angry youth of the time. Said angry youth, which propelled the likes of Nine Inch Nails, Limp Bizkit and Eminem into multi-platinum status over the weepy, grungy days of rock past, would inspire similar aesthetic choices on the horror films of the time, giving us derivative, misbegotten fright fare such as THE RAGE: CARRIE 2, AN AMERICAN WEREWOLF IN PARIS and STIGMATA.

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    Stream to Scream: “THE CANAL”

    Last year, independent horror was, for the most part, defined by the less-is-more approach of blending psychological horror with supernatural horror. After all, while something popping out of a dark doorway will always be startling, the idea of something beyond our comprehension lurking behind that door is all the more scary. Of course, this approach was used in THE BABADOOK, UNDER THE SKIN, THE TAKING OF DEBORAH LOGAN and more, allowing filmmakers to play with the fantasy and storybook elements behind a horror tale and infuse it into real-world consequences. But where Ivan Kavanaugh’s THE CANAL particularly succeeds is in how visceral the psychological horror can be, offering something much more terrifying and shocking than a sense of nightmarish foreboding.

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