Adam Hendricks

reference Adam Hendricks is that producer who seems to have a knack for sniffing out projects that are just a little bit off-kilter—in a good way, obviously. He’s behind some absolute wild rides, like Black Christmas (2019), which, let’s be real, is anything but your average holiday flick. That one spins the slasher genre on its head, tossing in a bunch of social commentary along with the expected chills and blood spatters. You walk in thinking you’re getting the usual masked-killer-at-college shtick and walk out with way more to chew on. Then there’s The Voyeurs (2021), which is basically a peeping Tom’s fever dream gone sideways. It’s got this glossy Hitchcock vibe but updated for the Instagram age, all about obsession and privacy and what happens when you start poking your nose where it absolutely doesn’t belong. The twists are bonkers, the tension’s tight, and by the end, you’re questioning your own morals for even watching. And don’t forget Cam (2018). Oh man, that one’s a trip. It dives deep into internet identity, with a webcam performer whose life goes haywire when her online persona gets hijacked. It’s trippy, unsettling, and honestly, it hits a little too close to home given how much of our lives are online now. Hendricks clearly isn’t afraid to get weird or take risks, and that’s what makes his stuff stand out. He’s not just churning out formulaic content—he’s serving up movies that stick with you, even after the credits roll.