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    History Channel & Eli Roth to chronicle Jesus’ “LOST YEARS” as an Exorcist

    At this point, The History Channel’s mission statement is unclear. If in between ANCIENT ALIENS and archery competition shows, they’d now like to follow up their incredibly popular dramatization of the THE BIBLE  with an Eli Roth-developed chronicle of Jesus’ lost years, some of which includes exorcising demons from possessed bodies, that’s some “sure, why not?” shit. 

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    “PARANORMAL ACTIVITY: THE MARKED ONES” Teases Hunt in New Spot

    Perhaps its the seeming return and expansion of black magick mythos, but there’s something eerie in the way PARANORMAL ACTIVITY: THE MARKED ONES is presenting itself. There’s also something delightful in the fact that an immensely successful franchise is still sticking to fan interaction and engagement, looking to hype up its admirers and reward fervent followers with advanced looks. Both aspects meet in a brief new spot teasing a hunt beginning December 6th. 

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    Dunstan, Melton have “SCARY STORIES TO TELL IN THE DARK”

    First published in the early 80s, Alvin Schwartz and illustrator Stephen Gammell’s campfire collection SCARY STORIES TO TELL IN THE DARK and its subsequent follow-ups are immortal and essential to many a horror fan. Providing a gateway to genre and for many, a first real fright, Schwartz’s simple, often darkly comedic terror tales culled from legend, punctuated by Gammell’s fantastic, truly eerie art  (a serious backlash ensued when the 30th anniversary editions were published in 2011 with alternate illustrations) could now indoctrinate youngsters into horror via film. 

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    “SATURN 3″ (Scream Factory Blu-ray Review)

    How peculiar a film is SATURN 3?  Its plot—a horny robot trying to kill its “competition” so it can have Farrah Fawcett all to itself—is one of the least puzzling things about it. You’ll spend far more time wondering why Fawcett is rolling around with a man twice her age (that would be Kirk Douglas), or why Harvey Keitel’s very recognizable voice has been dubbed over, or why all future movies have to have weirdo chess pieces when in reality we’ve been OK with the same basic designs for hundreds of years; or just what anyone was thinking when they greenlit this movie in the first place?

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