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    “THE FLY” (1958) (Blu-ray Review)

    It’s almost impossible to believe if you’re a younger horror fan, but Vincent Price was not yet a horror icon when he appeared in a supporting role in 1958′s THE FLY. His only big horror role prior to this was in HOUSE OF WAX.  But if you’re unaware of its placement in his filmography, and someone tells you that Price was in THE FLY, you’d probably assume he’s the unfortunate sod that has to walk around with a fly head for the second half of the movie, only to be disappointed that he’s the brother that sits all of the monster action out.  It wasn’t until a bit later, when he did a couple pictures for William Castle and then began his long association with AIP, that he became one of our most iconic genre stars, the likes of which we may sadly never have again.

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    “HOSTEL”‘s Boaz Yakin to produce Scott Spiegel’s “ZOMBIE WEDDING”

    Boaz Yakin (pictured above, on set of SAFE), co-writer/executive producer of the summer hit NOW YOU SEE ME, will produce director Scott Spiegel’s latest horror film, ZOMBIE WEDDING. Announced last year, the new high-concept project from the EVIL DEAD II screenwriter and INTRUDER director is based on Marc Selz’s screenplay of the same title, which Spiegel rewrote with Selz’s collaboration. Fango’s editor emeritus Tony Timpone will co-produce. ZOMBIE WEDDING follows a couple of young horror lovers who decide to hold a zombie-themed wedding on Halloween night only to have “real” flesh-eating ghouls crash their celebration.

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    “BLUE RUIN” (TIFF Movie Review)

    It’s been a long six years since BLUE RUIN director Jeremy Saulnier graced the pages of FANGORIA (virtual or otherwise); back in 2007 his riotous horror comedy MURDER PARTY was a hit among the FANGO enclave, starring Macon Blair as a nerdy loner whose invitation to a Halloween “Murder Party” turns out to be more literal than expected. In the interim Saulnier’s made a name for himself as a cinematographer, most notably for the dreamy dramas of Matthew Porterfield (PUTTY HILL), and now he returns to the director’s seat, with frequent collaborator Macon Blair turning in a transfixing performance as BLUE RUIN’s damaged lead, Dwight.

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    “SPARTACUS: WAR OF THE DAMNED” (Blu-ray Review)

    All great things must eventually fade into darkness – even if we long for more.

    However, sometimes our favorite things end on a high note, and SPARTACUS: WAR OF THE DAMNED does just that. Season three is the epic and inevitable end. After two successful seasons and a six-part mini-prequel, the Sam Raimi-produced Starz original series sadly reaches the cataclysmic climax, as we knew it would – but does it have to?  With the timely WAR OF THE DAMNED three disc Blu-ray and DVD release that hit shelves on September 3rd, the answer is a hands-down NO!

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    “R100″ (TIFF Movie Review)

    A superstar in Japan barely known outside of his native country, Hitoshi Matsumoto has found an unexpected second home in Toronto’s Midnight Madness program. If his films can be classified as anything, they are comedies. However, that label doesn’t quite feel like it fully captures the strange, disturbed, and subversive tone the filmmaker whips up every time he steps behind a camera. They are very much midnight movies in the purest form and it’s a shame that red-eyed viewing experience rarely exists outside of the film festival circuit anymore, because he’d probably be a major cult figure if the market still existed. Instead, Matsumoto is one of TIFF’s best kept secrets and R100 certainly stands comfortably next two his previous late night film fest gems, the giant monster mockumentary BIG MAN JAPAN and the indescribable SYMBOL.

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    Kim Ki-duk’s “MOEBIUS” (TIFF Movie Review)

    Kim Ki-duk might be the most outrageous and provocative filmmaker working in South Korea, something not easily accomplished given the competition. Yet, despite all of the shock tactics that Ki-duk has pulled in the past, nothing comes close to the nightmarish glee with which he unleashes MOEBIUS. It’s a movie that walks the line between “like” and “respect.” You can’t really do the former without a certain level of self-deception, but the latter comes easily enough. It takes an equal balance of guts and insanity simply to launch a movie like this, so kudos to Ki-duk for doing so. As for the audiences who will be sucking it up through their eyeholes…well, you’ll never forget what you see here.

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    “THE DOUBLE” (TIFF Movie Review)

    Despite serving up plum roles for a pair of contemporary stars and coming from one of the most promising filmmakers of the moment, there’s something delightfully old fashioned about Richard Ayoade’s THE DOUBLE. It’s one of those identity crisis existential horror movies that were all the rage in the heady art cinema days of the 60s. The film comes from a novella by Dostoevsky, features style and technique pulled from Roman Polanski and Orson Welles’ THE TRIAL. Yet it somehow also feels very much like a film of the moment. It’s a nightmare movie that crawls under your skin, while also proving to be one of the funniest features of the Toronto International Film Festival. Thematically, the flick is not an easy sit and yet Ayoade somehow makes it play as pure pleasure through his sardonic humor and cynical worldview. I guess you could call it a movie comprised of contradictions, and a wonderful one at that.

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    New Voodoo-centric art for “AMERICAN HORROR STORY: COVEN”

    Here’s a lot more of that live Voodoo doll.

    Set in New Orleans, a large component of AMERICAN HORROR STORY: COVEN will be Voodoo. Angela Bassett is playing real-life practitioner Marie Laveau and the story is said to revolve around a longstanding rivalry between those who practice the Louisiana magic and a coven who descend from Salem witches. That’s been actualized in some of COVEN’s promotional art depicting what most readily calls to mind the infamous “Voodoo Doll.”

    AMERICAN HORROR STORY: COVEN premieres October 9. Its first episode, “Bitchcraft,” will see a young girl, Zoe, shattered to discover she possesses a strange genetic affliction tracing back to the dark days of Salem. Zoe is whisked away to Miss Robichaux’s Academy for Exceptional Young Ladies, a mysterious school in New Orleans devoted to safeguarding the few remaining descendants who share this unique bloodline. Harboring a secret agenda, Fiona Goode, the most powerful witch of their generation, returns to town, reigniting old rivalries with the Coven’s deadly enemies, the Voodoo.

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    “DRY BONES” and “LEGEND OF SIX FINGERS” to Double Feature World Premiere in Buffalo

    DRY BONES, the latest from SLIME CITY director Gregory Lamberson is ready to be unveiled. Coincidentally, so is the new feature from his DRY BONES cinematographer, Sam Qualiana (SNOW SHARK: ANCIENT SNOW BEAST), THE LEGEND OF SIX FINGERS. Thus, a double header of a world premiere is planned for Thursday, September 26 at the Market Arcade Film and Arts Centre in Buffalo, NY, before the two films head gear up for theatrical and festival screenings in the ensuing weeks.

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