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    The YOU’RE NEXT trailer is here!

    Excitedly rejuvenating home-invasion by simply being both frightening and a hell of a lot fun, the long-awaited YOU’RE NEXT is almost  out. This trailer is the first many will see of the movie and once the mayhem kicks in, does a great job of nailing the hotly-paced, thrilling, big grin-inducing good time this film is. It is also majorly funny, but hopefully you’ll discover that in the theater.

    YOU’RE NEXT stars AJ Bowen (whose film THE SIGNAL also used Lou Reed’s “Perfect Day,” before having to change), Joe Swanberg, Barbara Crampton, Amy Seimetz, Nicholas Tucci and Rob Moran as the Davisons, whose family reunion is murderously interrupted by the aforementioned animals. “An unlikely guest of the family (an amazing Sharni Vinson), however, proves to be the most talented killer of all.”

    YOU’RE NEXT is out August 23. You can find our very excited review here, and keep an eye on Fango for more from the film in the coming months. [iTunes premiered]

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    Trailer: Hideo Nakata finds old school eerie in “THE COMPLEX”

    Has your nostalgia for J-horror kicked in yet? After the likes of Hideo Nakata’s RINGU and DARK WATER, Kiyoshi Kurosawa’s KAIRO (PULSE) and more ushered in a new wave of international terror, the influence was far-reaching—from stylistic flourish to the era of the remake—and eventually tired many fans out. Now, Nakata is seemingly returning to his roots as his latest, THE COMPLEX, prepares to play the Brussels International Fantastic Film Festival. Its trailer is like an old friend. 

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    Fangoria Exclusive: Steve Niles talks FINAL NIGHT and EYES OF FRANKENSTEIN

    It has been a trying four months for Steve Niles’ comic creations CRIMINAL MACABRE and 30 DAYS OF NIGHT. Not only have the two series been fighting to the death in the appropriately titled crossover, FINAL NIGHT (out from Dark Horse) but the “loser” has the added pressure of being put in permanent retirement. While fans have been biting their nails in anticipation, Niles has been keeping the outcome a tightly kept secret. Until now. With the release of the final issue this past Wednesday, we finally find out which of the two will live to see another run. Steve Niles recently sat down with FANGORIA in an exclusive interview about the ending of one series, the continuation of another, and all the little bits in between.

    * WARNING: SPOILERS AHEAD! *

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    Cigarette Burns Cinema reveals new Silver Ferox event poster for “Let’s Scare Jessica to Death”!

    35mm enthusiast Josh Saco puts on some of the most drool-inducing exploitation and horror events in London (UK) under the banner “Cigarette Burns Cinema” (like their Facebook page HERE!), with monthly screenings at The Rio, bi-monthly screenings at The Prince Charles as well as a bevy of special one-offs featuring rare 35mm prints spanning an impressive list of faves including PROFONDO ROSSO, THE KEEP, PSYCHOMANIA, WHO CAN KILL A CHILD?, EQUINOX, MS. 45 and more – always featuring amazing custom poster art by Silver Ferox and friends (see the gallery of all the previous posters HERE)

    After a screening of one of the unsung classics of the 80s slasher canon – Fred Walton’s APRIL FOOL’S DAY – next Friday April 4th (details HERE), next up on the Cigarette Burns calendar is John Hancock’s moody madwoman film LET’S SCARE JESSICA TO DEATH (full disclosure: it will be introduced by yours truly) on Thursday April 18th at London’s ICA Gallery (details and tickets HERE).

    To commemorate the event, Silver Ferox has turned out a STUNNING retro poster which you can see above.

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    “DARK BLOOD” (Movie Review)

    “If you want something enough, you must will it. If you’re obsessed enough, you will get the object of your desire.”

    So declares a tortured desert eccentric named Boy—portrayed by a fiery River Phoenix in his final screen role—to the pair of marooned Hollywood jetsetters he’s holding captive in a pivotal scene from DARK BLOOD, but the character might as well have been whispering through the celluloid ether to director George Sluizer, who recently (and with an effort that can only be described as herculean) plucked the film from the purgatory of fractional incompleteness in which it has lingered unseen for twenty years and made it a (qualified) whole.

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    Toronto After Dark announces Call for Horror, Sci-Fi, Action and Cult Film Entries!

    Toronto After Dark Film Festival has just announced its 8th Annual Call For Film Entries. The critically acclaimed fest runs for nine thrilling nights in Toronto, Canada this October 17-25, 2013 and welcomes submissions of all forms of genre cinema including horror, sci-fi, fantasy, animation, crime, action, cult and documentary films, both short form and feature-length.

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    “INHUMAN RESOURCES”: Tom Savini sees “Redd,” Part Two

    It must be kismet. Horror/makeup FX king Tom Savini, a hero to FANGORIA readers since we first profiled him in the very first issue of the mag in 1979, appears in and supervised the FX for INHUMAN RESOURCES (formerly REDD INC), the first “volume” of FANGORIA Presents’ new VOD/DVD label; see here http://www.fangoria.com/new/fango-presents/ for details). INHUMAN RESOURCES follows a deranged corporate manager/convicted serial killer Thomas Reddmann (Nicholas Hope) who kidnaps six people and holds them hostage in a deserted office. Soon the tortures begin, but all is not what it seems… Fango caught up with Savini in Australia during production of his latest splatter flick, and you can see part one of this interview here .

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    “AS I KNEW HIM: MY DAD, ROD SERLING” (Book Review)

    When discussing classic sci-fi/horror/fantasy television, ardent fans of THE TWILIGHT ZONE almost always come up against the camp that see your ZONE and raise you an OUTER LIMITS. Some may even dare say they prefer ONE STEP BEYOND or even on the similar Rod Serling tip, NIGHT GALLERY. But true ZONE heads are such not just because of the silvery black and white photography, skin-crawling theme music, nor the assorted aliens, monsters, shape shifters, murderous dummies and devils that gave the program it’s hook. Rather, they hold the show high because of Serling’s pen, because of his philosophies, his morality and his humanity. Because of course, THE TWILIGHT ZONE was never really about those trappings or narrative twists, it was about the folly of man, the belief that people are fundamentally good and that human evil is a perversion of prejudice. It was about both the wit and the somewhat broken heart of the man who built the house that stood on CBS’ prime time hill between 1959 and 1964.

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