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    Shriekfest ’13: Director Schultz on Exorcism Horror Comedy “DEVIL IN MY RIDE”

    As any seasoned fan of horror may know by now, pulling off a horror comedy that’s actually funny or scary is a difficult endeavor. To focus on the comedy, there must be a sense of brevity that off-sets any building tension and to deliver scares, the audience must still take the material seriously. Often times, filmmakers can turn to unique characters, interactive set pieces and twists on familiar scenarios to get laughs and still keep the creepy elements, but there’s a need for more filmmaking finesse to create something memorable, and that often only comes from a healthy combination of passion and wit.

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    Nightmare Royale #7: On the Crushing Weight of Hollywood “Story Gravity”, and Why Saving the World Can Kiss My Ass (Plus a Tip of the Hat to Brian Keene and Edgar Allan Poe!)

    Dear gang –

    First off: you gotta admit, it’s been a great week for Damon Lindelof hating. Even people who like him — who swear by LOST or the end of WORLD WAR Z, or (gulp) PROMETHEUS — have to admit that Vince Gilligan and friends handed him his ass last Sunday night. As I’m sure he’d be the first to agree.

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    “DARIO ARGENTO’S DRACULA” (Movie Review)

    In the opening scene of DARIO ARGENTO’S DRACULA, a peasant woman warns her voluptuous daughter against going out on this particular evening. “Walpurgis Night…I know,” the girl sighs, sounding bored of the subject. The malaise is catching; it drips from every frame of this new low in the career of one of horror’s once-great directors.

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    “THE AMITYVILLE HORROR TRILOGY” (Scream Factory Blu-ray Review)

    For a movie that spawned at least eight sequels and a remake, 1979′s THE AMITYVILLE HORROR should be better. To be fair, I’m not the biggest fan of haunted house films, but I know a good one when I see it (POLTERGEIST, THE HAUNTING, etc.), and the film has a few issues that just can’t be overcome.  And at just a hair under two hours, it can’t even be considered ideal seasonal viewing; you can get in a better haunted house movie with time leftover for an episode of TALES FROM THE CRYPT or TWILIGHT ZONE.  However, for its fans (or those with more time to kill), Scream Factory has you covered, bringing the original film and its first two sequels to Blu-ray for the first time, with some new bonus features to sweeten the deal.

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    Horror From The BBC: “IN THE FLESH” and “THE SECRET OF CRICKLEY HALL” (TV Review)

    The ever-dependable English seem to always deliver quality when it comes to filmed drama—it’s in their blood, after all—and that goes for their unique, atmospheric brand of horror as well. We’ll save you the history lesson, but suffice to say that the British sensibility is so steeped in darkness, in grey, brooding, foreboding gloom and spectral skin chilling, that their genre product is almost always a cut above any other culture’s; two new small screen sculpted releases out October 8th from BBC Home Entertainment exemplify that plain truth.

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    “AHS: COVEN” aims to educate with Voodoo featurette

    As with the anticipation of AMERICAN HORROR STORY’s second season ASYLUM, COVEN has been preceded by a deluge of atmospheric, aesthetically-thrilling teasers that have culminated in a main titles sequence packed with the sort of black magick eeriness witches and their rituals evoke in our minds. This year, however, the main subjects of AMERICAN HORROR STORY are rooted in more real-world religious practices. To that end, both for context and an introduction to the world COVEN takes place in, a brief featurette attempts to educate the viewer on Voodoo, its mystic air and elegance, and dispel some of the more negative perceptions.

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    Q&A: Kim Newman on “JOHNNY ALUCARD” and the world of “ANNO DRACULA”

    Recently published by Titan Books, JOHNNY ALUCARD is the fourth novel in Kim Newman’s ANNO DRACULA sequence, a shared universe alternate history series of novels detailing a world in which Dracula triumphed over Van Helsing and his other foes. Taking place over several different countries and a hundred-year span, the books combine to form a witty, erudite horror epic that functions  both as a rip-roaring pulp yarn and a thoughtful meditation on evil, in all its forms.

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