The International Film Festival Rotterdam (IFFR) is known throughout the world for its all-encompassing program: all genres, from all seven continents. Well, to be honest we haven't heard anything from Antarctica for a while now, but they'll be back, rest assured. As always the focus in this year's 42nd edition rests on human interest, but as far as genre films are concerned, there's enough to keep us interested. HALLEY, for example, is a very bleak Mexican horrordrama that will make you think twice about dreaming of life eternal.

Veteran action director Walter Hill has been staging mayhem in Louisiana for several decades now. His debut at the helm, 1975’s HARD TIMES, was shot in New Orleans; he ventured into the bayou for the 1981 action/horror hybrid SOUTHERN COMFORT; and went back to the Big Easy for 1989’s JOHNNY HANDSOME. Now he’s making the city’s streets run red again with the Sylvester Stallone-starring revenge thriller BULLET TO THE HEAD, his first feature in 10 years, which he talks about in this exclusive Fango interview.

THE COMPANY OF WOLVES and INTERVIEW WITH THE VAMPIRE director tells another tale of creatures of the night.

Danielle Panabaker has been terrorized on screen by infected maniacs, killer fish and a certain hockey-masked Mr. Voorhees over the past few years, but now she’s the one dispensing death in GIRLS AGAINST BOYS. The actress discusses her starring role in the vigilante shocker, opening today from Anchor Bay Films, in this exclusive interview.

Kier-la Janisse, film writer, programmer and author of the brilliant HOUSE OF PSYCHOTIC WOMEN has been touring internationally in support of the book, presenting incredible screenings and series. The latest, most expansive and seeming best begins in L.A. tonight at the Cinefamily. 

Iconic animation director and politically-minded provocateur Ralph Bakshi is crowdfunding an "animated cop, mafia, horror movie" set in the 1960s in the weird, wonderful Coney Island, NY. 

The most unwieldy sequel title in a while indicates that the movie is not really a sequel at all. While this and the original THE HAUNTING IN CONNECTICUT are based on a pair of Discovery Channel documentary features, the new movie has nothing to do with Connecticut or the events that took place there—and the association is rather unfortunate, since in some ways GHOSTS OF GEORGIA is superior to its predecessor.

An incredible talent, Marina de Van and her stylistic explorations of disassociation and self-discovery are among the most exciting in international cinema. Where IN MY SKIN (Dans ma peau) graphically announced a provocative new voice, DON’T LOOK BACK (Ne te retourne pas) saw an ascent to a gorgeous visual command of Hitchock-ian suspense. Currently in progress on what’s only her third feature since 2002, the Ireland-set DARK TOUCH, de Van continues her immensely personal journey digging into similar themes, only this time with children and all they suffer.

It’s a timeless precursor to everything from the wicked grin of FINAL DESTINATION’s elaborate doom to the morbidly humorous goth teen angst now sold fervently in suburban malls. While certainly not the first to reveal a sense of gallows humor about imminent death, Edward Gorey’s GASHLYCRUMB TINIES hath endured, influencing the likes of Tim Burton and Clive Barker and reassuring that even as we suffer the little children to come unto the Grim Reaper, it’s quite alright to crack a smile. 

Another interior tale from the director of last year's largely divisive THE PACT. 

To address the most obvious question first: Yes, WARM BODIES is better than the TWILIGHT movies. For one thing, its undead hero has been conceived as a zombie first and a romantic hero second, not the other way around, though it does go on to spin the mythology in ways that benefit the latter.