Sometimes you go into an interview with a plan. You’ve got your notes, your bullet points, your angles about the new 4K restoration of Zulu Dawn. And then sometimes you get James Faulkner on the line and you just… let him go. That’s exactly what happened here.

Few performers have built the kind of genre résumé Kathleen Kinmont has accumulated over the years. From surviving Michael Myers in Halloween 4: The Return of Michael Myers to becoming part of the twisted madness of Bride of Re-Animator and later finding television success with Renegade, Kinmont has spent decades navigating horror, action, and cult cinema. Her latest project, Valley of the Horntak, adds another intriguing chapter to that legacy, placing her at the center of a folk horror story filled with cults, family trauma, creature effects, and fungal nightmares.

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.