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  • “HELL FIRE” (DVD Review)

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    HELL FIRE, just out on DVD and VOD from Midnight Releasing, is the latest from New York’s Insane-O-Rama Productions, and lives up to the promise of that herald. Out of its mind and bloody as heck, it’s a jolt of adrenaline into the veins of the grassroots horror scene.

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  • Exclusive Interview: Julie Adams on THE CREATURE FROM THE BLACK LAGOON at Mile High Horror!

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    Last fall, the lobby of the Denver area Alamo Drafthouse was a sea of booths and costumes, wicked art, and local filmmakers peddling bizarre DVDs (What the hell is Motel London 2?!). Yet, nestled among a row of excitingly recognizable faces of the horror genre, including Gunner Hanson (THE TEXAS CHAIN SAW MASSACRE), Michael Berryman (THE HILLS HAVE EYES), and the powerfully voiced Tony Todd (CANDYMAN), is the petite and elegant figure of a gracefully aged starlet: Julie Adams. The actress has been greeting fans for several hours at Denver’s Mile High Horror Film Festival, and her charming smile has not left her face.

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  • Toys of Terror #36

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    Welcome to TOYS OF TERROR, Fango’s weekly feature exhibiting the coolest horror accessories across the web. Whether you’re a collector, connoisseur or simply making your love of horror a family affair, these petrifying playthings are likely to impress even the most heartless horror fan. So if you’re searching for a ghoulish gift, look no further…

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  • Gosling’s “LOST RIVER” To Skip Theatrical Release

    To those who have been following Ryan Gosling’s directorial debut, LOST RIVER (f/k/a HOW TO CATCH A MONSTER), the story surrounding the films release is a horror unto itself. The violent, ethereal film, which contains underwater cities, demons and sexual predators, was bought for distribution by Warner Brothers before it’s controversial Cannes bow, where the film was given many negative notices. And while industry rumors have long said that WB is trying to find a new outlet for the creepy genre film’s release, the news was confirmed today by Collider and Variety, who state the film will bypass theaters for a home media release this April.

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  • On Set: “THE WOMAN IN BLACK 2 ANGEL OF DEATH,” Part Two

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    The danger with a sequel to a film like THE WOMAN IN BLACK, this writer suggests to director Tom Harper, must lie in the temptation to enhance the role of a title character who works best the less she’s seen. There’s also the potential problem of dissipating the first film’s claustrophobia by broadening the canvas, but Harper says that while we learn more about the ghostly Jennet Humfrye in THE WOMAN IN BLACK 2 ANGEL OF DEATH, she’s still kept in the shadows as much as possible.

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  • Chris Alexander’s “QUEEN OF BLOOD” Joins NYC’s Philip K. Dick Film Festival!

    For those who frequent our sci-fi sister publication STARLOG, you may have noticed our recent announcement of the full schedule for the upcoming Philip K. Dick Science Fiction Film Festival. However, FANGORIA has learned there has been one last minute addition that is certainly worth your attention, as the PKDSFFF will get a little darker for the New York premiere of Chris Alexander’s QUEEN OF BLOOD!

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  • On Set: “THE WOMAN IN BLACK 2 ANGEL OF DEATH,” Part One

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    We were promised fire. It’s approaching midnight on a cold night in November, and FANGORIA is shivering on an abandoned military air base in Oxfordshire. The base itself is a vast expanse of desolate darkness, but we’re at least benefitting from the floodlights set up on a stretch of former runway, as the crew of Hammer’s THE WOMAN IN BLACK 2 ANGEL OF DEATH prepare for a climactic sequence.

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  • “STONEHEARST ASYLUM” (Blu-ray Review)

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    As someone who has been with the horror genre so consistently over the course of his career, it’s a surprise that Brad Anderson is still one of the more underappreciated genre filmmakers working today. This is especially so considering his versatility among his projects, handing in a kinetic, mainstream thriller like THE CALL while also offering brooding suspense in SESSION 9 and off-kilter tension in STONEHEARST ASYLUM. And with STONEHEARST, Anderson takes on a bigger challenge than he’s yet to do: adapt the period-appropriate work of Edgar Allen Poe while maintaining a unique cinematic voice of his own.

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