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    Q&A: Director Belinda Sallin Explores “DARK STAR: H.R. GIGER’S WORLD”

    In DARK STAR: H.R. GIGER’S WORLD, documentarian Belinda Sallin takes the viewer inside the home and mind of the late artist and designer of ALIEN, SPECIES and Alejandro Jodorowsky’s unmade DUNE—from an exploration of his garden, which includes a dark ride with tracks, to the interior of his house, with its pitch-black walls and a dense interior space of inspiration, art and skulls.

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    Exclusive Still, Q&A: “CABIN IN THE WOODS” star Anna Hutchison hits the road in “WRECKER”

    While the road thriller is nothing new to the horror genre, one must admit that there are only few driven by female protagonists. Of course, with high-speed chases, hot-running motors and testosterone-fueled stunt work, that side of the horror genre has been primarily targeted at male audiences for decades now.

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    “THE FINAL GIRLS” (Movie Review)

    THE FINAL GIRLS is part of the meta-horror canon, alongside SCREAM, BEHIND THE MASK: THE RISE OF LESLIE VERNON, TUCKER & DALE VS. EVIL and CABIN IN THE WOODS, in which the characters are hyper-aware of the horror-movie mythology they inhabit and are thus granted the ability to change the very structure of the trope. Not as arch as the aforementioned films, THE FINAL GIRLS (which won the Audience Award at the recent Stanley Film Festival) has a surprisingly affecting emotional core, built on the chemistry between actresses Taissa Farmiga and Malin Akerman.

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  • “BATES MOTEL: Season 3, Episode 10″ (TV Review)

    To be honest, I’m a bit torn on how to feel about the BATES MOTEL third season finale. On one hand, there was a sense of satisfaction in seeing certain PSYCHO vines bearing fruit, such as the first depiction of the murderous “Mother” and the closing moment homage to the iconic swamp sequence from the original film. And with the season being largely an improvement over the previous seasons in terms of character development and the raising of stakes, the fact that the season ended on such a definitive note allows for the fourth season to essentially start anew in an established, organic location.

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    Event Report: FANGORIA’s Free “TIME LAPSE” NYC Screening!

    Time travel, addiction, adultery and a gigantic Polaroid camera that reveals the future is only just the beginning of the science fiction thrill ride TIME LAPSE, directed by Bradley King and starring Danielle Panabaker, Matt O’Leary and George Finn, and distributed by XLrator Media. TIME LAPSE premiered to wide praise at the 2014 Brussels International Fantastic Film Festival, and with its upcoming theatrical release this Friday followed by a VOD launch, FANGORIA and editor emeritus Tony Timpone hosted a free screening at New York’s independent theater Cinema Village last Monday night. In attendance was star Finn, who plays TIME LAPSE’s Jasper, the drug and gambling addicted roommate. With a packed house and excitement in the air, the lights lowered and the fun began.

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    The Dreadful Ten: The Darkness’ Top 10 Horror Films of All Time!

    While FANGORIA usually reserves our Dreadful Ten column to show off the tastes and sensibilites of FANGORIA’s staff and contributors, this week is devoted to a special guest whose fandom of horror is as potent as their passion behind the microphone: Justin Hawkins, the lead vocalist and guitarist of the hard rock group The Darkness. With their fourth album, LAST OF OUR KIND, hitting shelves on June 2nd, Hawkins and FANGORIA got together to talk horror, and the high-pitched frontman revealed his top 10 horror titles of all time. So without further ado…

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    “STIGMATA” (Blu-ray Review)

    Unfortunately, one of the most accepted theories on the history of horror was that the ‘90s was a dark decade for the genre. While this might not necessarily be true, this writer understands why some might believe it to be so, considering there was so much in the zeitgeist meant to appease the angry youth of the time. Said angry youth, which propelled the likes of Nine Inch Nails, Limp Bizkit and Eminem into multi-platinum status over the weepy, grungy days of rock past, would inspire similar aesthetic choices on the horror films of the time, giving us derivative, misbegotten fright fare such as THE RAGE: CARRIE 2, AN AMERICAN WEREWOLF IN PARIS and STIGMATA.

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