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  • “CITIZEN TOXIE: THE TOXIC AVENGER IV” (Blu-ray Review)

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    Even for horror fans unfamiliar with the 40+ year running indie studio Troma, THE TOXIC AVENGER franchise remains the best known property among Troma’s intellectual property. Yet even with an iconic underground figure as Toxie, it’s been 15 years since THE TOXIC AVENGER had a proper entry released unto unsuspecting fans of splattery satire. However, TOXIC AVENGER fans can now at least enjoy the fourth (and, as of this writing, latest) addition in the franchise, subtitled CITIZEN TOXIE, in high definition, as Troma has given the film the Blu-ray treatment!

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  • Scream Factory Blu-ray Review Round-up: “THE HARVEST”, “THE SENTINEL”, more…

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    Now that their second Summer of Fear is coming to a close, Scream Factory is bringing Halloween early to Blu-ray collectors with an impressive line-up of cult classics and new horror offerings. Luckily, FANGORIA has the latest releases from the specialty distributor, and in this review round-up, fright fans can better decide which Scream offerings are best suited for their home media collection.

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  • “ULTIMATE NIGHT OF THE LIVING DEAD: GENESIS” (Comic Book Review)

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    Marvel and DC have paved the way for comic companies to release simultaneous first issues of comics that are centered on a universal event. Whether it’s the monumental event of DC’s New 52 that followed the Infinite Crisis storyline a few years ago or just Marvel wanting unite all their characters under one timeline later this fall, it’s become fairly common to see multiple characters and story arcs starting over all at once. But what happens when a brand new, interconnected universe is launched by ten different comics with ten different stories? Double Take’s newest work ULTIMATE NIGHT OF THE LIVING DEAD: GENESIS is what happens.

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  • “HELLIONS” (TIFF Film Review)

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    After taking a few years off from horror following his impressive genre debut PONTYPOOL, Canadian cult filmmaker Bruce McDonald has dipped his toes back into the pool with HELLIONS. His latest effort isn’t quite as ambitious as the last one, but it is an endearingly creepy and creative little effort that showcases his technical prowess, even if the script doesn’t quite feel substantial enough for feature length treatment.

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  • “HARDCORE” (TIFF Film Review)

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    HARDCORE is a tricky movie to review. On the one hand, there’s no denying that it’s an extraordinary, ground-breaking achievement on a technical level, offering a cinematic rush that’s unlike anything that’s ever been seen before. On the other hand, beyond pure technique and visceral thrills, the flick is almost insultingly stupid and frequently poorly acted. However, if you can get past any hope of compelling characters or a meaningful storyline, there’s no denying that HARDCORE will knock your socks off as a pure thrill ride. You’ve just got to check your brain at the door or, better yet, remove it entirely.

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  • “THE DEVIL’S CANDY” (TIFF Film Review)

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    Australian director Sean Byrne caused quite a stir with his 2009 debut THE LOVED ONES when it premiered at TIFF’s midnight madness. A peculiar mix of John Hughes teen melodrama and harsh gore horror, THE LOVED ONES toyed with viewers and twisted expectations in a manner designed to specifically please movie nerds. Unfortunately, studios didn’t quite know what to make of THE LOVED ONES, and the film took ages to actually reach screens after making the festival rounds. So it’s not too surprising that Byrne’s long delayed return is a far more conventional genre effort, nor is it particularly surprising that the more conventional movie isn’t quite as interesting.

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  • “FEBRUARY” (TIFF Film Review)

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    As chilly as the title suggests and surprisingly subtly mounted, FEBRUARY is a disorienting and bizarre twist on some familiar horror tropes. The first feature by Osgood Perkins (son of PSYCHO icon Anthony Perkins) takes a few concepts that will be familiar to many genre aficionados, then twists them through odd narrative knots and laces them with unexpected dramatic weight until the film begins to feel like something new. It’s tough to say how strong this story would be without it’s unconventional telling,  but thankfully, things turn out devilishly well as it is.

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  • “ANGST” (Blu-ray/DVD Review)

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    We are gathered here today to celebrate an event that is difficult to truly “celebrate” in any jovial sense. Widely unreleased or banned since its debut, ANGST is the one and only film from director/co-writer Gerald Kargl, and has long been one of the most sought-after flicks on the bootleg circuit.

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  • “THE HIVE” (Film Review)

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    THE HIVE is a bit of a difficult film to review, at least for this writer. Not because it’s a difficult movie to understand- which it’s not- nor is it because it’s bad- which it’s definitely not. In fact, THE HIVE is, for the most part, an excellent film, and the kind horror audiences should be embracing considering that it’s an original, R-rated contagion movie that has some genuinely interesting and scary concepts at play. But the reason THE HIVE is difficult to review is because the film treads very lightly with its originality, as the film gets concerningly close to many of its very apparent influences.

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  • “AQUARIUS: THE COMPLETE FIRST SEASON” (Blu-ray Review)

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    When AQUARIUS debuted earlier this year, positing itself as a genre-friendly lead-in to HANNIBAL’s third season, this writer took a shine to the show. It wasn’t the greatest procedural on television, but the characters were interesting, the writing went into curious directions and the Manson element brought a sense of perpetual horror to the show. But nevertheless, there always felt something off about AQUARIUS upon broadcast, almost as if the show was struggling to find its voice even though there appeared to be a great amount of creative freedom on display. However, upon revisiting the show on Blu-ray, where every episode is now offered in extended, unrated editions, and suddenly, it’s almost like watching an entirely new show, as AQUARIUS is clearly a premium cable show stuck in the format of a broadcast network program.

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  • “HIGH-RISE” (TIFF Film Review)

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    Through his work in films like KILL LIST, SIGHTSEERS, and A FIELD IN ENGLAND, director Ben Wheatley has established himself as a twisted cinematic force. Armed with a distinctly cynical outlook, a dark wit, and a knack for unexpectedly graphic gut-punches, Wheatley delivers comedies and dramas that have the visceral shock impact of horror. Thus far, Wheatley has typically played in the realist realm that earned him comparisons to the likes of Mike Leigh (only with a blood-soaked streak); however, his latest feature is a different beast entirely. Based on a novel by CRASH’s J.G. Ballard, HIGH-RISE unfolds like a cinematic nightmare. It’s a deliberately alienating experience designed to thrust audiences into a nastily satirical vision of society and leave them in a state of disturbed awe.

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