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I was fortunate enough to screen a copy of New York filmmaker/FANGORIA scribe Jeremiah Kipp’s most recent short film, CONTACT. While it has a running time of only 11 minutes, the movie feels much more substantial due to its message and depth. Maybe it’s the dark mood, or the powerful message, or its simple horror. Whatever it is that makes CONTACT special, the fact remains: it is a must-see.

I know death is inevitable – and it’s entertainment that exploits this fact that we at FANGORIA trade in – but that cold fact doesn’t ever numb the deep sense of loss that grips you when it happens. After losing the fascinating American genre filmmaker Charles B. Pierce and troubled former teen actor Corey Haim last week, Monday morning greets us with the news that legendary screen presence Peter Graves has left us as well

Image Comics has announced that Rob Zombie is taking another stab at the comics world with ROB ZOMBIE PRESENTS: WHATEVER HAPPENED TO BARON VON SHOCK? The first issue will assault stores May 26.

At the just-concluded Monster-Mania convention in New Jersey, Fango got a chance to chat with genre-fave actor Tom Atkins, beloved from his roles in NIGHT OF THE CREEPS, THE FOG and others, about his soon-to-lens role in Patrick Lussier’s DRIVE ANGRY. In the course of the interview, Atkins also dropped some hints about another highly anticipated Lussier project to follow…

Last week, the FANGORIA office in New York City received a visit from The Dillinger Escape Plan. Amidst their slew of press stops, the band did a photo shoot for Rock Sound and an interview over at AOL Music’s Noise Creep radio show where guitarist Jeff Tuttle sported a Fango shirt for all to see (check that out and a bigger version of the picture after the jump).

The organizers of this year’s Tribeca Film Festival have announced the genre films playing in the Cinemania (formerly Midnight) section of the annual event, which takes place this year April 21-May 2. There are a couple of titles of interest in other sections of the fest as well.

Having already unleashed a plague of the walking deceased in 2006’s DEADLANDS: THE RISING and last year’s DEADLANDS 2: TRAPPED (pictured), director/co-writer Gary Ugarek is planning to make it a trilogy with DEADLANDS 3. Preproduction has begun on the movie, for which Ugarek provided us with a synopsis.

Welcome to Paper Cuts: Wild Posters from the Private Collection of Tal Zimerman. There are Band-Aids in case you need one. I’m Tal and I work as a professional actor, but my passion is collecting horror-movie posters from all over the globe. On this blog, you will see how film companies used paper to promote their products before the Internet, and in many cases before home video.

The story of David DeCoteau’s THE PIT & THE PENDULUM is a little different than the one I read by Edgar Allan Poe. Actually, file that one under the “giant understatement” category. In DeCoteau’s new-to-DVD (from here! and E1) release, seven good-looking college athletes—well, really six; one is a storm chaser—come to the house of a mysterious woman who plans to push each through the pain barrier via the use of hypnosis.

The casual vampire costume-wearer has two choices when it comes to store-bought novelty vampire fangs. Option one: crafted appliances that mold to your teeth and look awesome poking over the edges of your lips. They make you sound a little funny when you talk, are never really comfortable, and are invariably stolen by some house-guest the following spring.

In the first part of this interview (see it here), author Eric Garcia recalled how his short story “The Telltale Pancreas” evolved into both a full-length novel and his own screenplay. Universal releases that film, REPO MEN, March 19, and in this concluding portion of our chat with Garcia, the scribe discusses the differences between the book and the script, and weighs in on the REPO! THE GENETIC OPERA controversy.

Note: All names are omitted to protect the ridiculous!

Several months ago, FANGORIA had its Trinity of Terrors convention out in Las Vegas, and it was just friggin’ perfect. Everything from the black-and-gold color scheme, to the stocked bar outside the main room, to the endless list of celebrities, to the slot machines located just one elevator away—we got it down. It was a Class A production.

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