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    “V/H/S VIRAL” (Movie Review)

    Any debate scheduled to conclude with fisticuffs in a boxing ring is bound to engender a bit more tension than the average Oxford Union fare, but when Alamo Drafthouse CEO Tim League and horror director Ti West clashed at Fantastic Fest this past September over the unsubtle-yet-hilarious/apropos proposition “The Found Footage Genre is a Cancer Eating Away the Integrity of Cinema” the point-counterpoint—as foreshadowed by the pair’s brutal pre-confrontation challenge videos—took on a particularly vitriolic, take-no-prisoners vibe. 

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  • Art, Tracklist, Date: John Carpenter’s Highly Anticipated “LOST THEMES”

    John Carpenter is a master, both of cinema and of the score. His themes are iconic and endlessly influential, hallmarks and originators of a beloved style of composing as well as catchy as all hell (ASSAULT ON PRECINCT 13 practically loops in many of our heads). It was understandable then when admirers across fandoms and professions (fans, filmmakers, musicians) lit up upon the news of an impending new album from the artist. Entitled LOST THEMES, and arriving this winter from Sacred Bones Records, the album was described as tracks composed by Carpenter without any films in mind and the news of which was accompanied by stellar song “Vortex” and a collage video set to Carpenter clips. Following a weekend to digest and groove comes the full details on LOST THEMES. 

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  • “HOUSEBOUND”: Exclusive Deleted Scene

    Fangoria.com has gotten its skeletal fingers on an exclusive deleted scene from the great new horror comedy HOUSEBOUND, which will close the 13th edition of the New York City Horror Film Festival on November 16 at Tribeca Cinemas (54 Varick Street; 212 941-2001). No less than genre master Peter Jackson called HOUSEBOUND: “A wonderfully witty comedy horror that delights in scaring the hell out of you! Bloody brilliant!” 

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  • Short: Nathaniel Lindsay’s Monstrous Yuppie Satire, “GREEN EYED” Now Online

    As the window between theatrical, VOD and Netflix Instant grows shorter with stunning rapidity (see: MOCKINGBIRD), the transition from festival play to online debut for a short film can be anyone’s guess. Oftentimes, film festivals require the short not be widely available, which can leave myself excited for a wide viewership to see a thrilling piece of work, but completely unsure of when they can. For instance: GREEN EYED. Nathaniel Lindsay’s slick satire of the monstrous, consuming, selfish nature of yuppiedom was one of my favorite shorts of 2013, playing the likes of Fantastic Fest and more. After a successful fest run, GREEN EYED has hit online in full for you to groove, laugh and cringe. 

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  • AMERICAN HORROR STORY To Connect Seasons After All

    AMERICAN HORROR STORY is easily one of the most divisive horror programs on television, with Ryan Murphy’s specific and decadent brand of style-over-substance often times being an acquired taste among dedicated genre fans. Yet the show is undoubtedly a crossover hit, with the latest season, FREAK SHOW, hitting rating milestones for the series and tapping into the zeitgeist with the now-iconic “Twisty the Clown.” Perhaps the most intriguing aspect of this fourth run is that, for the first time in the anthology series’ history, there would be an obvious connection between seasons, through the appearance of “Pepper,” (AHS: ASYLUM) the pinhead played by Naomi Grossman who was featured prominently.

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    Q&A: Alexandre Aja on “HORNS”, “THE PYRAMID”

    What kind of filmmaker do horror fans think of when they hear the name “Alexandre Aja?” Some think of the French master of brutality, who was able to translate the voice of the French Extreme Horror movement into English with his remake of THE HILLS HAVE EYES. Some think of a versatile, if underrated, filmmaker, who can churn out films as different as HIGH TENSION, MIRRORS and PIRANHA 3D. And others still are more familiar with his producing work, adding his own unique tonal variation to the slasher genre with films like P2 and the lauded MANIAC remake.

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