One of the first things I told Britt Bankhead and Grace Patterson when we sat down to talk about The Town That Takes was that I was impressed. I've watched enough indie horror over the years to know where budgets usually start showing themselves. Sometimes it's the effects. Sometimes it's the locations. Sometimes it's the action. Somehow, The Town That Takes avoids most of those pitfalls.

One of the most impressive things about Mockbuster isn't the insane six-day dinosaur shoot, the frantic production hurdles, or even the fascinating look behind the curtain at The Asylum. It's Anthony Frith himself. Within minutes of the documentary starting, you feel like you know him.

Getting the chance to sit down with Carla Gugino was one of those moments that reminded me why I love doing this. I've been a fan of hers for years. I cannot tell you how many times I've watched Son in Law. It's one of those movies that somehow never gets old.

There are certain horror directors who earn an automatic ticket purchase from me. Daniel Stamm is one of them. From The Last Exorcism to 13 Sins and Prey for the Devil, Stamm has built a career around taking familiar genre concepts and twisting them into something uncomfortable, unpredictable, and uniquely his own.

There are actors whose careers feel carefully manufactured, and then there are actors like Jess Weixler, whose filmography seems built almost entirely on instinct. Long before she was stealing scenes in Monsters: The Lyle and Erik Menendez Story or showing up in It Chapter Two, Weixler cemented herself as a genre icon with Teeth, a film I have recommended to more people than I can count. The thing that has always stood out about her work isn't simply the projects themselves.

When people talk about Obsession, the spotlight naturally finds Curry Barker. He's the writer-director whose breakout horror film turned into one of the year's biggest success stories. But films, especially independent films, aren't made by one person.

There are some interviews that feel more like catching up with an old friend than conducting press, and speaking with Vinny Pacifico was one of those conversations. As someone who spent years watching Ring of Honor during its golden era, it was particularly cool to hear Pacifico talk about where his journey began. When Delirious came up, Pacifico immediately lit up, explaining that Delirious and Cheeseburger were among the people who trained him.

There’s something refreshing about a filmmaker who just says it outright. No irony, no overthinking, just pure love for the genre. Talking with James Nunn about Hungry, you can feel exactly where this film comes from.

I had an absolute blast sitting down with Reno Wilson, Dylan Playfair, and Jackson Pace to talk about Above the Line. I’m a huge fan of all three guys, so getting to talk shop with them about this film felt like a genuine moment. Reno is out here killing it in Dexter: Original Sin, and I will always stand by the fact that Fatal Attraction deserved way more love.

There are documentaries that celebrate a film, and then there is Children of the Wicker Man, which quietly dismantles one while trying to understand the man behind it. Justin and Dominic Hardy do not approach their father’s legacy with the usual reverence reserved for cult classics. Instead, they dig through it, sit with it, and at times push back against it.