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    Q&A: “SERENITY ROSE” Creator, Aaron Alexovich

    SERENITY ROSE is the kind of comic weird kids grow up on. Full of one-of-a-kind characters, goofy situations, and heaping helpings of magic and mayhem, SERENITY ROSE has helped open up the comic world for readers who’d usually shy away from delving into the more constricted universes of bigger companies. With its ten year anniversary at hand, creator Aaron Alexovich hopped on Kickstarter to fund a collected, hardcover edition of the past decade and met with overwhelming success. Following the launch of SERENITY ROSE: 10 AWKWARD YEARS, Alexovich spoke with FANGORIA, attempting to explain his work and what has kept moving him forward through all of the ups and downs.

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    Shadowvision: “THE WICKER MAN” (1973)

    Welcome to Shadowvision, a regular column in which Fangoria.com revisits modern horror films in black and white. The purpose is to analyze these films through a new lens, seeing if the classically informed viewing experience will give a new angle to familiar images. If you’d like to watch along at home, it’s simple: go into your TV settings and desaturate the picture completely, then adjust the contrast and brightness to fit either standard or high definition.

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    Fantastic Fest Shorts Preview: Fredrik S. Hana’s Seaside Scare, “AUTUMN HARVEST”

    The winner of Fantastic Fest’s 2013 Short Fuse Program, Norwegian filmmaker Fredrik S. Hana returns to Austin this year with for the World Premiere of his atmospheric seaside tale AUTUMN HARVEST. His latest is a change of setting—the winning ANGST, PISS AND DRID was a squalid, interior work of human horror, while AUTUMN HARVEST is more ethereal and nature-based—but maybe not pace. Hana is clearly focused on sensory cinema, and like several of the 2014 short films (of which FANGORIA is a proud sponsor), unfolds largely dialogue-free.

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    “THE GUEST” (TIFF Movie Review)

    Adam Wingard and Simon Barrett’s THE GUEST qualifies as horror for lack of any other easy genre classification (well, aside from a delightfully cheeky Halloween themed climax). The duo have delivered a project that mixes their trademark dark humor and hyper cineliteracy with elements of 80s horror, thrillers, and action flicks, topped off with a light dusting of John Carpenter. It’s a movie that Cannon Films would have been proud to slap their logo across during the neon decade and yet it also feels contemporary. The film strives for nothing more than pure, unadulterated, unapologetic entertainment and so delivers on that promise, you can’t help but sit back and smile.

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    “SPRING” (TIFF Movie Review)

    You’ve got to give the folks behind SPRING credit for making a film unlike any other. One could describe the movie as POSSESSION meets BEFORE SUNRISE and certainly no one has ever attempted to pull that off before. There are times when the movie is wonderfully unpredictable. There are times when the whole thing feels like a confused mess. There’s no denying however, that the film is a fascinating original vision.

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    “CUB” (TIFF Movie Review)

    In his feature film debut, Belgian director Jonas Govaerts has delivered what can be described as a textbook horror film. It weaves together a vast swab of genre tropes into something pitched halfway between campfire yarn and 80s slasher. In this case, that’s not a bad thing.

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    “THE EDITOR” (TIFF Movie Review)

    For anyone raised on bleary-eyed marathons of VHS and DVD rentals, the five lunatics known as Astron-6 have been a delightful, new lurid pleasure. Through films like FATHER’S DAY and MANBORG, they’ve developed a signature tone, often pitched somewhere between parody and homage. They clearly love bargain bin trash movies. They just love laughing at them as well, and their movies toe the line between those two extremes. THE EDITOR is their latest and by far most ambitious feature, which applies the Astron-6 treatment to the giallo. It’s kind of a perfect mix, given that gialli tend to be stylistically gorgeous and magically, hilariously dumb in just the right ways. And the guys clearly know the genre well. THE EDITOR is not simply an Argento homage. Even flicks like HITCH HIKE get a moment in the spotlight.

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    “BACKCOUNTRY” (TIFF Movie Review)

    Canada is a land rich in unspoiled nature. With dense forests and breathtaking cinematic locations from coast to coast, you’ll find many a US western, period piece or summer camp flick shot up here, wherein the producers dupe viewers into thinking you’re watching anything but a Canadian film.

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