Author Archives: Keith Garlington

EDFF 2026 RUNDOWN: Short Film Block #2

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A true highlight from Day 3 of the 2025 El Dorado Film Festival was Short Film Block #2, yet another curated collection of shorts created by inspired filmmakers from near and far. Block #2 featured an exceptional group of short films that explored a wide range of themes through various interesting genres. It was the strongest top-to-bottom block of the festival.

Here are a few impressions out of the films included in the block…

Director Sam Henderson’s astonishing “Ado” is an intensely affecting short film that uses incredibly heavy subject matter to speak to the infinite value of school teachers. As a husband to a teacher of nearly thirty years, Henderson’s film is profoundly effective and necessary. He and his co-writer Ryan Romine tell a sobering story about a middle school drama teacher named Mrs. Hopkins (Jenifer Lewis) who has her class interrupted in the most unimaginable way. It’s equal parts moving and terrifying with Henderson handling his material with seriousness and sensitivity. And while his direction is superb, the film wouldn’t be what it is without the sensational central performance from Lewis. She will leave you speechless.

VERDICT – 4.5 STARS

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The straightforward title “Em and Selma Go Griffin Hunting” pretty much sums up the story nicely. Yet to no surprise, there is a lot more going on under the surface of writer-director Alex Thompson’s thematically rich and visually captivating experience. The story is set in the 1930s but has a dark fantasy element that Thompson shrewdly uses to press his film’s deep-running themes. Selma (Pollyanna McIntosh) accompanies her daughter Em (Milly Shapiro) on a hunt to kill a dangerous griffin as part of some warped rite of passage. But Em’s reluctance puts her at odds with her mother and in danger of incurring the creature’s wrath. The film is shot in stunning black-and-white and features spectacular visual effects, all of which Thompson skillfully uses to amplify his film’s overall meaning.

VERDICT – 4.5/5

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In 1893 Cornwall, a fisherman’s wife named Betty (Beatie Edney) shocks the medical world by being the first person to cure someone of Consumption (aka Tuberculosis). A determined doctor and relative Gregory (Ali Cook, who also writes and directs) is sent to her village to investigate and potentially disprove the claims. But rather than receiving a logical medical explanation, Gregory is told a fantastical tale from Betty that’s too preposterous for him to believe. That’s a general introduction to “The Pearl Comb”, a brilliantly conceived and crafted short film that surprises at every turn. The film is strengthened by top-to-bottom stellar performances, not to mention terrific costume and production design. But it’s Cook’s audacious vision that makes “The Pearl Comb” an engaging and immersive delight.

VERDICT – 4.5/5

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Pulling inspiration in Ivan Turgenev’s 1850 Russian short story, director Sam Davis finds hope, humanity, and communion in his warm-hearted Oscar-nominated short film “The Singers”. It’s set late at night in a remote dive bar where a number of blue-collar, world-weary men bare their souls to fellow drinkers. The film features a small yet colorful batch of characters including a broke construction worker who continues to hound the other patrons for some beer money. Tired of his begging, the bartender offers him $100 and a beer if he can out-sing an elderly regular. Before long nearly everyone joins in which takes the film in a whole new smile-inducing direction. “The Singers” is currently streaming on Netflix and it shouldn’t be missed.

VERDICT – 4.5/5

REVIEW: “Scream 7” (2026)

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Back in 2026 the slasher sub-genre got a jolt of fresh energy in the form of Wes Craven’s “Scream”. Horror fans immediately responded to the movie’s overt meta treatment that embraced the long-standing slasher clichés both within the film and in the filmmaking. In many ways it revitalized the genre and inspired a new wave of imitators. “Scream” immediately spawned a well-done sequel followed by two considerably lesser films.

Then in 2022 the franchise was revived with the lazily titled “Scream” (again) and then “Scream VI” one year later. This latest era has attempted to blend the nostalgic pull of the older films with its own fresh new spin. But they mostly just give lip service to the superior original film. And neither the new storylines nor the new characters could escape the scripts’ numerous lapses in logic and overall absurdity.

Still, the last two movies made good money at the box office which all but insured a seventh Scream. But pre-production was halted after star Melissa Barrera made incendiary comments which the studio deemed to be antisemitic. The controversy that followed led to the departure of director Christopher Landon and co-star Jenna Ortega. It drove a small segment of online fans to call for a boycott. Meanwhile a considerably smaller and shamelessly inconsiderate group started a campaign to spoil the film’s ending online.

Image Courtesy of Paramount Pictures

With all of that aside, here’s the good news. Once you move past the ongoing drama, “Scream 7” is an entertaining return to form…of sorts. It takes a very back-to-the-basics approach which works both for the movie and in some regards against it (more on that in a second). A big reason it clicks is not only the return of the original star Neve Campbell, but also the return of Kevin Williamson, the screenwriter of the franchise’s first and best films. He not only co-writes the “Screen 7” script, but this time he also directs.

After declining to return to “Scream VI” due to a pay dispute, Campbell is back as Sidney Prescott. She has made a new life for herself in Pine Grove, Indiana. She’s married to the local police chief, Mark (Joel McHale) and together they have a 17-year-old daughter named Tatum (Isabel May). She has even opened her own coffee shop. She has done everything she can to distance herself from her traumatic past. But Sidney’s efforts have driven a wedge between her and Tatum who has grown frustrated with her evasive mother.

But of course Sidney’s life is turned upside down with the return of Ghostface, a mysterious killer sporting a popular Halloween costume and a voice changer who has a new identity in each film. This time the killing starts at the Macher house, the place of the first film’s murders which has been turned into some kind of museum/Airbnb. Shortly after, Sidney gets a call from Ghostface claiming to be a familiar face from her past. At first she dismisses it as a shameless joke. But when the killer begins targeting Tatum and her friends, Sidney’s mother bear instincts kick into gear.

Image Courtesy of Paramount Pictures

The story that follows sticks close to the classic slasher formula, and its simplicity turns out to be one of its strengths. Die-hard fans of the popular horror sub-genre will get exactly what they’re looking for from screaming teens to buckets of blood. The same goes for devoted fans of the Scream franchise. Williamson soaks his sequel in fun nostalgia and cool callbacks with the best being the return of Sidney Prescott herself. Those wanting something dramatically different or coming at it with an ax to grind will most likely leave disappointed.

The mother-daughter dynamic is a nice addition and it gives the story heart. Campbell gives her best performance of the series while May is a nice new addition. Meanwhile the supporting cast features a slew of fresh faces and old favorites, some of whom fare much better than others. Unfortunately, much like the previous two films, “Scream 7” ends with a thud. The big reveal doesn’t leave any real impact and it feels plucked out of nowhere. It’s a disappointing payoff.

Still “Scream 7” is a nice return to form for a long-running film series that needed to be reminded of what made it popular. It’s hardly groundbreaking and it’s yet another entry that fumbles its finish. But it nails the basics, from its gloriously gory kills to its classic killer and all-star final girl. For most fans that will be more than enough to remind them of why these movies still have a following some thirty years since its Genesis.

VERDICT – 3.5 STARS

EDFF 2026 RUNDOWN: Short Film Block #1

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One of the El Dorado Film Festival’s highlights is its strong support of short films from around the world. And this year’s lineup may be their best yet. Short Film Block #1 offered festivalgoers a curated collection of eight short films that spanned different genres and showcased several fresh and exciting voices. It made for a great kick-off the second full day of the festival.

Here are a few impressions out of the eight films included in the block…

An imaginative and unexpectedly tender story lies of the heart of “Patina”, a subtle blend of life-affirming drama and time-hopping science-fiction from writer-director Jake Hull. Charles John Wilson plays 12-year-old Jackson who begrudgingly joins his father at a nursing home to visit his grandpa on his 84th birthday. It’s there that Jackson has a surprise encounter with a “giant” elderly woman named Patina (Casey Camp-Horinek) who’s looking for her lost pocket watch. Jackson ends up finding her cherished heirloom which transports him back in time where he meets someone who will forever change his life. “Patina” offers a moving examination of memories and the connections we make through them.

VERDICT- 3.5/5

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“Fireflies in the Dusk” is an offbeat time-travelling culture clash comedy that seems custom-made for a feature film adaptation. Writer-director Jonathan Hammond transports us back in time to the Victorian Era where Charlotte (Emily Gross) is being pushed by her mother Edith (Amy Yasbeck) to marry the stiffly proper Cecil (Hale Appleman). But her heart belongs to another – a goofball from our modern day named Zach (Nick Ballard). The two exchange love letters through a magic, time traveling desk drawer. But when a desperate Charlotte crosses over through time, the story takes some wild turns. The story doesn’t always make sense and it milks some jokes dry. But the chaos keeps you glued to the screen, even as the whole thing threatens to fly off the rails.

VERDICT – 3/5

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Jonah Haber’s “We Were” is an emotionally rich meditation on the trajectory of life and love as seen through the reflections of a brokenhearted man named David (Kevin Romano). We peer back to the tender affection that 10-year-old David shared with a young girl named Janelle (Vivienne Cvetkovski). We then see him in high school with his first true love, Amy (Amanda Thamage). And then we visit his adult years with his girlfriend Mia (Jessa Richer). But when David and Mia’s relationship falls apart, all he’s left with are the echoes of bittersweet memories that hearken back to some of the best and worst times in his life. Haber examines it all through an evocative lens and with the kind of emotional honesty that should speak to anyone’s heart.

VERDICT – 4.5 STARS

EDFF 2026 RUNDOWN: Louisiana Film Prize Top 5

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This year the El Dorado Film Festival once again showcased the Top 5 finalists from last Fall’s Louisiana Film Prize. The ever impressive Louisiana Film Prize is a Shreveport-based short film competition and festival that was founded in 2012. As it routinely does, this year’s block included an exciting array of voices belonging to some truly intriguing filmmakers from across the country.

Here are a few impressions from this year’s block…

Alexander Jeffery directs, writes, edits, and produces “The Old Man at the Bar”, a thoughtful and transporting short that subtly hearkens back to the timeless filmmaking of old. Sumptuously shot with a striking eye for detail, Jeffrey ushers us into a Paris bar where two servers (Abby Tozer and Noah Silver) are closing for the night. But before they can, in walks an older American gentleman (Stan Brown) who takes a seat at a table and orders a bottle of wine. From there we simply observe as the three share an encounter that challenges one of them to re-examine their heart. It’s elegantly crafted by Jeffery and driven by three terrific performances, none better than the superb Tozer who conveys the very essence of her character yet leaves so much to our imagination. She’s a crucial part of what makes this gem shine.

VERDICT – 5/5

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Rachael Hudson’s “Girl Dad” is an endearing short film that has the kind of lingering impact that will stick with fathers of all makes and models. Hudson’s evocative direction brings writer and star Ty Hudson’s deeply affecting story to life. He plays a father named Anthony who we observe playing with his daughter Emily during various phases of her life. It starts when Emily is 5-years-old and continues until she’s in her early teens. During each stop on their timeline we’re fed morsels of information about their relationship. And while their connection is undeniably heartwarming, it’s Hudson’s deeper interests that give the movie an emotional punch that you won’t soon get over.

VERDICT – 4.5/5

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The very premise of writer-director Michael Cusumano’s “Last Minute” should resonate with any of us parents with good and/or bad memories of those late-night homework sessions in the pre-internet days. The exhaustion, the frustrations, the verbal sparring. But also the laughs, the connections, and the bonding that we may not have fully appreciated in the moment. Set in 1989, Cusumano’s story follows a single mom, Jackie (a wonderful Charity Schubert) and her 12-year-old son, Jason (Espyn Doughty) rushing to complete a science project that he forgot to mention until the night before it was due. Anyone old enough to remember 1989 will love the details scattered throughout. But it’s the colorful and authentic mother/son relationship at its core that gives the film its heartbeat.

VERDICT – 4/5

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The confounding healthcare industry gets some much-deserved scrutiny in writer-director John F. Beach’s surprising and insightful genre-bender “M.R.I. (or, Michael Returns Indefinitely”). Beach also stars in the film, playing a man named Michael who faces a series of unexplainable peculiarities while visiting his doctor for a scheduled M.R.I. exam. This bonkers blend of suspense, science-fiction, and black comedy wildly finds much of its inspiration in Beach’s own personal experiences. It’s all bound together by a clever script and some keen craftsmanship, highlighted by impressive visuals and striking sound design. Meanwhile its message isn’t spoon-fed to us, yet it hits like a hammer (as it should).

VERDICT – 4/5

REVIEW: “The Dreadful” (2026)

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Writer-director Natasha Kermani delves into the dark depths of gothic horror with “The Dreadful”, a slow-burning semi-supernatural chiller covered in medieval blood and grime. The story is set in the 15th century as a battle for control of the English throne rages during the Wars of the Roses. It’s a fittingly grim setting for Kermani to play in. But she struggles to sustain any momentum in this surprisingly dull gothic folktale.

“The Dreadful” is loosely based on the 1964 Japanese drama “Onibaba”. Sophie Turner gets the lead role playing Anne, a young wife living with her creepy and conniving mother-in-law, Morwin (Marcia Gay Harden) while her husband Seamus is away at war. The two live in poverty outside of a small village where they grow what food they can from the rugged terrain. Filmed in the damp, foggy, and overcast Cornwall, the locations deftly capture the desired atmosphere and isolation.

Image Courtesy of Lionsgate

Anne and Morwin’s relationship is nearly as harsh as the conditions they live in. Morwin is possessive and manipulative, while Anne does what is expected from her mainly out of respect for her husband. But there’s an even more unsettling side to Morwin that sees her resorting to savage violence in the name of survival while forcing Anne to serve as her reluctant accomplice. It adds a wild twist to the story and one of its few real surprises.

A new strain is put on their relationship after Anne’s childhood friend Jago (Kit Harington) arrives home from the war with news that Seamus has died in battle. A few wobbly flashbacks to their younger days reveal that Jago has always had the hots for Anne. As time goes by he eventually shares his feelings with her. But this doesn’t sit well with Morwin who has no desire to let Anne leave her side. Oh, and then there’s the mysterious armored knight on a white stallion who pops up in the distance before eerily vanishing into the mist.

Image Courtesy of Lionsgate

While the movie does its title justice by conveying a steady sense of dread, neither the slow-developing character drama or the dark mystery pays off in the way they need to. Turner’s carefully measured restraint plays well with Harden’s descent into madness, yet both work well above the material they’re given. Meanwhile Harington blends into the background without leaving much of an impression at all.

“The Dreadful” toys with some interesting ideas but it doesn’t do a lot with them. The sluggish pacing combined with an overall lack of scares leaves most of its potential untapped. And it certainly doesn’t come close to the chilling heights of Kaneto Shindō’s classic. In fairness, this isn’t intended to be a by-the-numbers remake. But it struggles to stand even on its own, which leaves “The Dreadful” feeling like a missed opportunity.

VERDICT – 2 STARS

First Glance: “Pressure” (2026)

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One of this year’s surprise early releases (at least for me) is “Pressure”, a historical war film from director Anthony Maras that recently dropped its first trailer. The feature is based on playwright David Haig’s 2014 stage production that was inspired by the true events leading up to the D-Day invasion. An intriguing cast led by Brendan Fraser, Andrew Scott, Kerry Condon, Damian Lewis, and Chris Messina anchor what looks to be a riveting true story.

Mere hours before he is set to order the launch of the largest seaborn invasion in history, Dwight D. Eisenhower (Fraser) meets with James Stagg (Scott), a meteorologist with the Royal Air Force, to discuss weather conditions for the D-Day attack. Stagg warns that a launch during the impending storms could be catastrophic. But others warn that a delay could result in losing the element of surprise. From the trailer we witness tensions rising as the stakes only get higher.

“Pressure” launches into theaters on May 29th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.