There's something immediately disarming about sitting down with Henry Thomas and Adrianne Palicki. Maybe it's the shared Texas roots. Maybe it's the fact that both performers have built careers by bringing an uncommon level of honesty to their work.

Before speaking with Al Kalyk, I already knew Cruel Hands had gotten under my skin. As a father, the film's story of a mother and son trying to survive while escaping an abusive husband hit harder than I expected. The thriller elements kept me locked in, but it was the emotional weight of Maria and Dai's relationship that stayed with me.

Some interviews feel inevitable. My conversation with filmmaker Edward Payson was one of them. Looking back, I honestly couldn't tell you exactly when we first connected.

If there was one thing that became clear during my conversation with Jess McLeod, it's that their excitement for Teenage Sex and Death at Camp Miasma and Our Effed Up World is completely genuine. There was no rehearsed industry polish and no carefully manufactured answers. What came across instead was someone deeply passionate about the people they work with, the stories they're helping tell, and the growing community of queer filmmakers carving out space on their own terms.

For a lot of viewers, Aaron Dominguez will always be remembered as Oscar Torres from Only Murders in the Building. He brought warmth, charm, and immediate trustworthiness to that role, making him one of the most likable characters in the series. That's exactly why his work in Christopher Piñero's The Prowler feels so refreshing.

Some horror shorts deliver a good scare. Others leave you thinking. Christopher Piñero's The Prowler manages to do both.

I'll get this out of the way early: I had a great time talking with Matt Doherty. As somebody who grew up on The Mighty Ducks films, there is always that weird moment when you sit down with someone whose work was part of your childhood. Sometimes those conversations are fine.

There is a danger when making a documentary about a beloved figure in genre cinema. It is easy to get lost in the accomplishments, the filmography, and the nostalgia. What makes Rubberhead: The Life and Monsters of Steve Johnson stand out is that director Nick Taylor never set out to make a greatest-hits reel. Instead, he wanted to tell the story of the man behind the monsters.

There are action stars, and then there are storytellers who happen to know how to throw a punch. With Son of the Soil, Razaaq Adoti proves he's firmly in the second category. Genre fans will recognize Adoti from films like Resident Evil: Apocalypse, Doom, Black Hawk Down, and Amistad, but his latest project feels different.