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    “STOKER” (Sundance Movie Review)

    In its cryptic opening scene, Park Chan-wook sets the tone of STOKER, his English-language debut, with a monologue and the sound of the world in which the film takes place. STOKER prides itself on not being a conventional genre picture by any means, but the hypnotic rhythm in which the film unfolds will undoubtedly keep any audience transfixed.

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    “THE FOLLOWING” (TV Review)

    THE FOLLOWING (premiering tonight at 9/8 Central on Fox) represents the latest attempt by a broadcast network to compete with the extremities and explicitness of cable TV. Or to put it another way, how ya gonna keep ’em watching your procedurals after they’ve been down on the farm with THE WALKING DEAD?

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    “GRAVE ENCOUNTERS 2″ (MOVIE REVIEW)

    The 2011 found footage survivor flick GRAVE ENCOUNTERS was certainly a worthy entry in the shaky cam subgenre. Despite having some less than stellar CGI, the film felt real and put the characters in a fairly plausible situation, with suspenseful pacing, fun, campy performances and a solid directing debut from Collin Minihan and Stuart Ortiz, collectively known as The Vicious Brothers. That said, the follow-up picture, GRAVE ENCOUNTERS 2  (currently enjoying a limited theatrical run in Canada), is more than a bit of a disappointment.

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    “HALLEY” (Rotterdam Movie Review)

    The International Film Festival Rotterdam (IFFR) is known throughout the world for its all-encompassing program: all genres, from all seven continents. Well, to be honest we haven’t heard anything from Antarctica for a while now, but they’ll be back, rest assured. As always the focus in this year’s 42nd edition rests on human interest, but as far as genre films are concerned, there’s enough to keep us interested. HALLEY, for example, is a very bleak Mexican horrordrama that will make you think twice about dreaming of life eternal.

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    Recap: “AMERICAN HORROR STORY 213, Madness Ends”

    by: Samuel Zimmerman on: 2013-01-25 23:32:40

    Possibly the most striking thing about how AMERICAN HORROR
    STORY: ASYLUM has wrapped itself up is that, in a show and season so imbued
    with a love of and homage to cinema, “Madness Ends” really went to bat for the
    power of television. Really, Ryan Murphy’s extended, warped odyssey through a Massachusetts
    mental institution could not have been told any other way. Brutal, soap operatic,
    involved, indulgent and even massively transformed from beginning to end,
    ASYLUM laid down with grace via a 60 MINUTES-esque sit down and a horrifying
    exposé reminiscent of Geraldo Rivera’s own investigations of the squalor at
    Staten Island, New York’s Willowbrook State School.

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    “VIDEO DIARY OF A LOST GIRL” (Movie Review)

    by: Vivienne Vaughn on: 2013-01-25 15:49:10

    VIDEO DIARY OF A LOST GIRL, the first feature directed by
    Lindsay Denniberg, is not made for the masses; it’s a completely bizarre,
    surrealistic art-house film that’s not quite comparable to anything, except perhaps Nobuhiko Obayashi’s 1977 horror phantasmagoria HOUSE.

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    “JUG FACE” (Slamdance Movie Review)

    There’s a weirdness to the circumstances of JUG FACE’s plot that doesn’t quite take hold of the entire film. That is to say, a bit disappointingly, that a movie about prophetic pottery, incestuous pregnancy and a pit that demands sacrifice is a lot more of a straightforward horror picture than it sounds.

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    “WRONG COPS” (Sundance Movie Review)

    by: Olivia Saperstein on: 2013-01-23 22:18:49

    Let’s make this clear: WRONG COPS is a party. Oh, and don’t worry,
    it’s appropriately blood-infused. While writer/director Quentin Dupieux (STEAK,
    RUBBER, WRONG) may deny the “experimental” classification, he is certainly
    known for his authentic filmmaking choices, so expect WRONG COPS to exceed all
    levels of dissidence.

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