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  • “HUMAN CENTIPEDE 3” Gets Official Release Date and Synopsis!

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    Will the third HUMAN CENTIPEDE film truly be the “FINAL SEQUENCE”? With Tom Six’s first HUMAN CENTIPEDE film going from controversial festival fave to a legitimate pop culture phenomenon, the franchise has amassed a giant following, many of whom take each proceeding film as a litmus test for their visceral endurance. So when Tom Six claims that his vision will end with HUMAN CENTIPEDE 3: FINAL SEQUENCE, there’s a grain of salt that should be taken with said subtitle. Yet for a series that takes such pride in raising the bar of bad taste, perhaps HUMAN CENTIPEDE 3 will be untoppable for Six, and we’ll find out for ourselves soon as Entertainment Weekly has released the synopsis and release date for the third and supposedly last chapter in the HUMAN CENTIPEDE saga.

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  • FANTASTICA Review Round-Up: Arrow Video’s UK Blu Slate!

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    Whether it’s blaxploitation revenge flicks, scathing satire, sci-fi madness or spaghetti westerns, Arrow’s recent Region B Blu-ray slate has it all for fans of ’70s and ’60s cinematic fare. Offering top-tier special features, excellent video transfers and their trademark original mono soundtracks, Arrow is bringing cutting edge and cult classic cinema to high definition, and FANTASTICA recently had the chance to go through ’em all!

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  • “THE ROOMMATES” / “A WOMAN FOR ALL MEN” (Blu-ray Review)

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    Producer/director and eventual distributor Arthur Marks is widely recognized as one of the true innovators of the American exploitation film, having helmed such lurid, brash 70’s classics as DETROIT 9000, J.D’s REVENGE, THE CENTERFOLD GIRLS and MONKEY HU$TLE but his roots lay in network television. Years before Marks made his, er, mark at the drive-in, he was one of the major creative forces behind iconic early TV drama PERRY MASON and it’s that small screen sensibility that is vital to both appreciating and understanding the pair of fantastic and virtually forgotten cult gems found on the revived Gorgon Video’s Marks-centric Blu-ray: 1972’s THE ROOMMATES and 1974’s A WOMAN FOR ALL MEN, both films making their home video premieres here.

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  • FANTASTICA Presents: Seeking Horror In The Age of Streaming

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    There’s little to no doubt that instant streaming is here to stay, and while physical media will exist in some form or another, there’s no amount of thinkpieces in the world that will change it. And as detrimental as it is to attention spans and the value of entertainment, instant streaming is bringing fans to content at an unprecedented rate, changing how film and television operate as a whole. But while streaming does much for the genre, especially in terms of getting eyes on films that the masses may otherwise have overlooked, the video store experience of finding obscure and unique genre classics- especially those that don’t fit the mass appeal mode- has become a much more difficult experience.

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  • NY/NJ! Join FANGO’s Ken Hanley for “MADMAN” at Alamo Drafthouse Yonkers with a Cast/Crew Q&A!

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    As our many horror fans may know, FANGORIA is a frequent host (and customer) at the Alamo Drafthouse Yonkers, a cinema that truly respects the films that it screens, especially those in the genre world. In fact, for certain forgotten fright films, some might think a VHS release would be too good of a tribute, but in the eyes of the Alamo (and with a bit of encouragement from the horror community), these films get the big screen treatment and then some. As such, with their recent Vinegar Syndrome partnership launching some of the most obscure horror titles back into the public consciousness, Alamo Yonkers are giving hardcore horror fans their chance to experience these films they way they’re meant to be seen. And with the upcoming screening of Joe Giannone’s MADMAN, the Alamo is going above and beyond by bringing the cast and crew of the film to the Drafthouse in a Q&A moderated by yours truly, which you can be a part of!

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  • Shadowvision: “JACOB’S LADDER”

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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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  • “HOOKED UP” (Film Review)

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    If patterns in the studio and independent level are any indications, it seems that found footage is finally descending from the horror zeitgeist. Yet in doing so, many assorted stragglers in the subgenre are finally rising to the surface and, oddly enough, many of these found footage titles are the ones that never quite fit into the genre’s expectations. And luckily for HOOKED UP, the found footage aspect is merely just a conduit for a genuinely tight and terrifying horror tale, and any expectations one might have for HOOKED UP (and the various familiar horror elements) are effortlessly turned on their head.

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  • Stanley Film Festival ’15: Whannell-scribed “COOTIES” Set For Opening Night

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    Ever since its debut at the 2014 Sundance Film Festival, horror fans have been patiently awaiting Cary Murnion and Jonathan Milott’s COOTIES, the Spectrevision-produced horror comedy co-written by INSIDIOUS/SAW mastermind Leigh Whannell and GLEE co-creator Ian Brennan. Yet the film has sat on the shelf for quite some time, with Lionsgate issuing reshoots on the ending and contemplating a new release plan. However, horror fans will get their first chance to see the star-studded COOTIES with its new ending at this year’s Stanley Film Festival, as the film has earned the slot of Opening Night film!

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  • “CHEATIN'” (FANTASTICA Film Review)

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    Wild sex, bloody violence and some seriously insane twists populate Bill Plympton’s CHEATIN’, but of course, without it, would it really be a Bill Plympton film? Yet while CHEATIN’ carries all the signature aspects of Plympton’s adult and absurd previous work, the film has a bit more substance between the whimsical and wicked moments throughout. And with Plympton’s signature style of animation, the element of voyeurism has never been as immersive, offering a tangible universe that is as bizarre as it is familiar.

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