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  • Week of Wes: “SERPENT”, “SHOCKER” and “STAIRS”

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    Following the success of A NIGHTMARE ON ELM STREET, one would expect Wes Craven’s prominence in the horror genre to lead to bigger and better things. However, as many independent filmmakers who lept into the studio system can tell you, it’s not surprising that Craven was met with immediate frustration. Of course, Craven is clever enough to play the system to their expectations, never passing up an opportunity to explore the genre he had been dubbed a visionary within.

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  • Arena Cinema Hollywood, fright filmmaker James Cullen Bressack team for “CAMPFIRE FRIDAYS”

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    Fright fans whose tastes lean towards the controversial are likely familiar with modern day indie exploitation filmmaker James Cullen Bressack, whose provocative genre efforts include PERNICIUS, HATE CRIME and 13/13/13. And while Bressack is best known for his envelope-pushing independent films, L.A.-based horror fans will get to know his taste for terror a little better starting October 9th as Bressack and Arena Cinema in Hollywood, CA, are teaming up for a monthly event hosted and curated by the filmmaker, entitled “Campfire Fridays.”

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  • Q&A: “CABIN IN THE WOODS’ ” Fran Kranz Finds Work Sucks in “BLOODSUCKING BASTARDS”

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    BLOODSUCKING BASTARDS, the new horror/comedy directed by Brian James O’Connell and written by the improvisational comedy troupe Dr. God and Ryan Mitts, stars Fran Kranz—Marty in CABIN IN THE WOODS and Topher in DOLLHOUSE—as Evan, the only person in his boring sales office who cares about his job. His workplace becomes more professional and productive, as well as considerably more dangerous and gore-filled, when Evan’s old college nemesis Max (GAME OF THRONES’ Pedro Pascal) gets the promotion Evan thought was his.

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  • “CONTRACTED: PHASE II” (Film Review)

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    When it comes to sequels, there’s always an inherent concern about the film’s relationship to its predecessor. Sometimes, we worry if it’s going to be too familiar, whether there are too many wedged-in winks-and-nods or if the film is simply just a rehash of the original. Other times, we worry if it’s simply going to be radically undermining its predecessor, offering something that ultimately goes against what made the first film work at all or hastily rewrites the first film’s canon for its own purposes. And then there’s the overall concern that the film will be faithful to the first film and different enough in its own way, but be just a poor example of filmmaking.

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  • FIOFF ’15 Submissions to Die For: Timothy Hall’s “THE STUDIO”

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    Welcome to SUBMISSIONS TO DIE FOR, the latest column focusing on highlights among the FANGORIA International Online Film Festival Submissions. While being featured on this column does not guarantee selection in the FANGORIA International Online Film Festival, SUBMISSIONS TO DIE FOR features some scare fare worth keeping an eye on…

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  • Texas Frightmare Weekend 2016: McHattie Announced, Premium Passes Available 09/05!

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    Last month, FANGORIA was proud to share with horror hounds the impressive first guests for the 2016 Texas Frightmare Weekend, which has so far included Kane Hodder, George A. Romero, Tony Todd, Mitch Pileggi and Gerrit Graham. However, as the official sponsor of TFW2016, FANGORIA is excited to share the latest guest addition and pass sale for the Southwest’s Premiere Horror Convention!

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  • “PIXU: THE MARK OF EVIL” (Comic Book Review)

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    Slow burning comics aren’t very common in our world of Disney-owned Marvel and re-hashed ’80s franchises. Demands for bigger, better, and faster works often times force story build up to fall on the way side, leaving a flashy but ultimately forgettable comic (though with the price of comic books, who can blame them?). Of course, that’s what the indie and creator-owned comic market is for. While PIXU: THE MARK OF EVIL is not necessarily an independent work, it delves deep in the well of small press creativity, crafting a work that is more focused on atmosphere than chucking ideas on a wall and seeing what sticks. What it accomplishes is a heavy, dark work about the evils that lurk in us all and houses that are forced to watch.

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  • True Grue: Marshall Applewhite and the Tragedy of Heaven’s Gate

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    Welcome to “True Grue,” a weekly article that dives into real life, harrowing horrors. For the interest of good taste, this graphic feature aims not to be exploitative, but rather informative, and rest assured, there are many different territories that will be strictly off-limits. But for those with a hungry mind and a strong stomach, read on at your own discretion…

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  • “ATTACK ON TITAN” Film Stomps Into U.S. Theaters This Fall

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    With October quickly approaching, horror and sci-fi fans will be scavenging the internet for genre flicks to satisfy their insatiable hunger for horror and suspense. Well, look no further genre fans: the live-action version of the highly acclaimed Japanese manga, Shingeki no Kyojin, or better known in the states via its anime adaptation ATTACK ON TITAN, is finally reaching North American theaters! With Part 1 premiering September 30th and screening again October 1st and 7th, and Part 2 being released October 20th with an additional showings on October 22nd and 27th, the ultimate battle between man and monster will be seen in all its horrific glory.

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  • NYC: FANGORIA Presents Free October Screening of “THE DIABOLICAL” starring Ali Larter!

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    FANGORIA will be hosting a free screening of THE DIABOLICAL, a sci-fi-tinged horror flick that will warp your reality, in New York City on Monday, October 12 at 7 p.m. This special showing will be held at the swanky Helen Mills Theater (137-139 West 26 Street), and the film’s co-writer/director, Alistair Legrand, will be introducing the film and taking part in a Q&A. THE DIABOLICAL stars Ali Larter, Arjun Gupta, Max Rose, Chloe Perrin, Kurt Carley, with Merrin Dungey and Patrick .

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  • Week of Wes: “THE LAST HOUSE ON THE LEFT” / “THE HILLS HAVE EYES”

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    Personally speaking, this writer feels that Wes Craven simply does not get enough credit for his versatility as a director. Many think that because several of his high-concept horror films were also notorious failures (sorry, VAMPIRE IN BROOKLYN and CURSED) that Craven is best known for being the savior of the slasher genre… twice. However, a mere look at his filmography can provide any fright fan with an ambitious, incredible filmography of truly different films: DEADLY BLESSING, THE PEOPLE UNDER THE STAIRS, SHOCKER, RED EYE; even the SCREAM quadrilogy feels different each entries’ cinematic voice.

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  • “BLOODSUCKING BASTARDS” (Film Review)

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    While horror and comedy seemingly can go hand-in-hand with relative ease, the truth is that making the two genres work together is a bit more difficult than one might expect. After all, audiences are accustomed to having comic relief in a horror movie or absurd pitch black situations in a comedy film, but mostly in small doses whereas a flat-out “horror comedy” is much more of a tonal balancing act. In a worst case scenario, you either wind up with a horror movie with desperate, tone-deaf comedy or a comedy that is equally as desperate by firmly grounding itself in spoof territory. However, in better cases, such as BLOODSUCKING BASTARDS, both the tones work by serving both the horror and comedy as honestly as possible.

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