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  Cinepocalypse 2018: Whatcha Gonna Do When THE COP BABY Comes for You?

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  Aussie Rockers Halfwait Channel 90s Alt-Rock and Pop Punk on THE OFFICIAL

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  Cinepocalypse 2018: SATAN’S SLAVES is Pure Horror

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  Cinepocalypse 2018: Father and Son Discuss MONSTER SQUAD Doc – WOLFMAN’S GOT NARDS

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  Cinepocalypse 2018: Everyone Must Stay Inside and AWAIT FURTHER INSTRUCTIONS

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  Cinepocalypse 2018: Celebrate a New Era in Urban Legends with THE BILL MURRAY STORIES

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  Dread Central Presents… VIDAR THE VAMPIRE

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  With EXPONENTS, Agency Declare Themselves the Name and Face of Alternative Soul

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  Cinepocalypse 2018: Bang Your Head with HEAVY TRIP

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  Experience N.ave’s BLACK MAGIC

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  Splatter Matters? HOW TO MAKE A DOLL, an Utterly Splatter Free Sexploitation Romp

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  An Extended Father’s Celebration with LIKE FATHER LIKE SON

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  Plans Derailed En Route to the TERMINAL

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  Wulijimuren Rocks Instrumentally with His Latest Full Length, SUN OF UTC+8

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  Where Flamenco, Jazz, and Trip Hop Meet: James Labrosse’s ORANGE NIGHTS

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  Victims and Villains Reviews THE INCREDIBLES 2

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  Snailmate Channels a Truly Bizarre and Creative Energy with EXISTENTIAL ANXIETY

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  TTCFF 2018: Exploring the Black Experience Through Real Life Tragedy in MY NAME IS MYEISHA

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  TTCFF 2018: THE STRANGER Uses Shocking Reveals and Experimental Storytelling to Stand Above the Pack

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  TTCFF 2018: Skye Borgman’s True Crime Documentary ABDUCTED IN PLAIN SIGHT

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  New Music Monday Presents Like Father Like Son’s SHARKS AND DINOSAURS

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  Filmmaker Stephen van Vuuren and His New Film IN SATURN’S RINGS

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  ASTRAL CLOUD ASHES Reminds That “Emo” is Not a Bad Word

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  Dominik Starck Talks Action, Storytelling, and THE HITMAN AGENCY

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  Explore Both DARKNESS AND LIGHT with Crooked Flower’s Latest EP

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  Weekend Sound Byte: “Come Along” with LES TECHNO

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  THE STRANGERS: PREY AT NIGHT is a Bloody Fun Sequel