I can’t believe I’m saying this, but mercifully the 2025 awards season has come to an end. I usually love this time of the year which culminates in the star-studded Oscars ceremony. But this year has felt more curated than ever before and it has highlighted why people shouldn’t take these things seriously. So to no surprise, last night the Academy Awards wrapped up the season in a fittingly underwhelming way.

We live a world with such a diverse range of opinions and tastes. Yet voting bodies, from the smaller critics groups to the Academy, have all selected their winners from the same tiny pool of nominees. To some degree this has often been the case. But this year it has been more pronounced. Who christened this small handful of films as the ones every group would choose from? And so quality now takes a backseat to what’s trendy and we end up with the mess we have now.

I hope you’ll forgive the rant from this Oscar lover turned Oscar curmudgeon. Now onto why we’re here. Last night the Oscars celebrated mediocrity with the 97th Academy Awards. And as I’m prone to do, here are a few random thoughts about this year’s show…

• Well, to no real surprise “Anora” was the big winner of the night and it seems fitting. It’s the perfect bad movie to represent this bad awards season. But the right people got behind the film early and in this curated system it was pushed right over the finish line.
• “Anora” took home the night’s top prize of Best Picture which was pretty obvious. Prognosticators tried to muster some drama, but for some reason this became the movie of choice early last year. It’s especially baffling considering it’s not a good movie. Move over “Crash”!
• Conan O’Brien was a solid host who was better early in the show than he was later. Several of his gags landed well and his self-aware musical number was pretty funny. It did add some extra length to the show which could really be felt by the last hour.
• Of course Sean Baker won Best Director for “Anora” which is hard to wrap my mind around considering what a mess the movie is. Then again, this wasn’t a serious category. They didn’t even nominate Denis Villeneuve for “Dune: Part Two” which is beyond ridiculous.
• Another “Anora” win came in the Beat Actress category. Mikey Madison wins in what was no real surprise. Some tried drum up some drama by hyping Demi Moore. But Madison was a pretty clear frontrunner. Her winning over Fernanda Torres is almost comical. But the actual best performance was never going to win this category.
• The best movie of the year, “Dune: Part Two” had already been shafted in the nomination phase and it never had a shot at Best Picture. But it did win the two awards that every person in house expected it to – Best Visual Effects and Beat Sound. It’s mind-boggling how little consideration it received. But then I remembered, some voters didn’t even take the time to watch it. Go figure.

• In keeping with the night’s theme of predictability, Adrien Brody won for Best Actor. It’s hard to be too upset because he was terrific in “The Brutalist”. But considering Chalamet’s work in “A Complete Unknown” AND “Dune: Part Two”, he would have easily earned my vote. But again, no gripe here, and Brody’s great speech made it even better.
• Speaking of “A Complete Unknown”, it had a rough night going home empty-handed. That shouldn’t have been the case, but any win for it would have been a long shot. Same for the likes of “Nosferatu” and “Nickel Boys”. They never fit in with the popular kids and that’s what it’s all about these days.
• June Squibb is a treasure.
• The ceremony opened up with Ariana Grande and Cynthia Erivo singing tunes from “The Wizard of Oz” and “Wicked”. Both have amazing voices, but hopefully this will wrap up their schmaltzy promotional tour (or at least give us a temporary break).
• To no surprise but to the embarrassment of the Best Original Screenplay award, “Anora” took home the statue. I couldn’t help but chuckle considering the script was easily one of the most frustrating things about the film.
• Best Adapted Screenplay goes to “Conclave” in what would be its only win of the night. And at the risk of sounding like a broken record, the idea that “Dune: Part Two” didn’t even earn a nomination is an example of how warped this year was.
• But the night turned into a full-blown awards show parody once “Anora” won the Oscar for Best Editing. It’s hilarious in that good editing might have actually made the movie tolerable. Baffling!
• Kieran Culkin wins for Best Supporting Actor to the surprise of absolutely no one. No other nominee had a shot. To his credit he gave one of the best speeches of the night especially when talking directly to his wife. It was a nice moment.
• Mark Hamill presented the award for Best Original Score and to the benefit of everyone in the room and watching at home, his pants stayed up this time.
• Speaking of Original Score, the Oscar went to “The Brutalist” and it’s hard to be too upset. It was a brilliant and truly memorable work. No arguments here.
• Adam Sandler had a funny bit where he’s called out by Conan for sitting among the stylish tuxedos and elegant gowns in his signature hoodie and basketball shorts. Sandler capped it off with a smile-worthy “Chalameeeet”. IYKYK.

• “I’m Still Here” wins the Oscar for Best International Feature just as it should have. It was Brazil’s first Academy Award and viral videos of watch parties showed how excited the country was. The film was tremendous and it should have garnered a healthier consideration for Best Picture. But again, trends.
• Who knew sandworms were so musical. Yes, the sandworm playing instruments was a silly and rather pointless bit of comedy. But what can I say, I really got a kick out of it.
• STILL in keeping with the complete lack of drama, Zoe Saldaña wins for Best Supporting Actress. I was rooting for Monica Barbaro, but Saldaña had won everything leading up to the Oscars. And she remains the very best thing about “Emilia Perez”.
• Speaking of Zoe, she too gave one of the more moving speeches of the night. So much joy, appreciation, and thankfulness. You love to see that from a winner.
• This year’s IN MEMORIUM was incredibly tough. As a massive Gene Hackman fan, Morgan Freeman’s heartfelt tribute gutted me. The memorial that follows was difficult. But several names were missing. Shannon Doherty and Tony Todd anyone?
• I’m not sure who made the decisions, but it seems like the showrunners let some winners talk as long as they wanted but were really quick to cut off others. Pretty tacky if you ask me. If you’re stuffing your show so much extra fluff at least give ALL winners equal time to have their moment.

So that wraps another awards season and (whew) I’ve never been more relieved. Here’s hoping that next year is better (it would almost have to be).

Day 4 of the 2025 El Dorado Film Festival was jammed packed with films of every make and model, style and flavor. To kick things off, the day’s program was opened with Short Film Block #2, yet another curated collection of shorts from around the world. Block #2 once again featured an eclectic group of selections from various genres and from a wide array of exciting voices.

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

In director Tom Hipp’s “The Chain”, the mood is set in the opening moments as we’re introduced to a young boy named Robert (Tristan Wilder Hallett) while CCR’s “Bad Moon Rising” blasts from his radio. He walks in on his distraught mother Delilah (Debbie Diesel) who’s staring out the window as sirens echo through the neighborhood. It turns out his father, Finnigan (Matthew Schmidli) hasn’t come home. And in a world with werewolves that’s an especially bad thing. Delilah seeks the help of their neighbor, Caleb (Brian Paulette) who eventually finds Finnigan battered and bloody. Finnigan insists he’s fine, but with a full moon approaching, Delilah’s not taking any chances. Hipp’s patience pays big dividends by building domestic tension and generating loads of atmosphere. But it’s the story’s shocking payoff that ultimately packs the biggest bite.

VERDICT – 4/5

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With “The Captives”, director Talia Light Rake and screenwriter Claire Hampsey team up to craft a heartfelt adult drama that’s rich with resonating themes. Hampsey plays Jolie, a Julliard graduate who put her acting dreams on hold and moved back home to Texas to take care of her ailing mother, Emmeline (Missy Yager) after she was diagnosed with cancer. Jolie pretends to be content with bartending and hanging out watching movies with her mom. But Emmeline sees through her daughter’s facade and eventually forces Jolie to make some long overdue life-determining decisions. Superbly acted and elegantly shot, “The Captives” takes a thoughtful look at mortality, family, and finding the will to follow your dream, even when everything within you is telling you not to.

VERDICT – 4/5

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“The River” tackles the very real struggle of gambling addiction from a unique and authentic perspective. Set against the backdrop of Arizona’s Gila River Indian Reservation, the story follows a mother named Rocky (played with wrenching conviction by Rainbow Dickerson) whose gambling problem has put a crushing strain on her family. While Rocky’s life is unraveling, her Aunt Nan (Jennifer Bobiwash) has been raising her teenage daughter, Maya (Susanna Osife), teaching her the importance of staying true to their heritage. But a clash inevitably occurs when Rocky suddenly returns home late one night. The film is wonderfully directed by Clare Cooney who’s working from Claude Jackson Jr.’s moving script. Together they effectively convey the deep pain addiction causes, not just to the addict, but also to those closest to them.

VERDICT – 4/5

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In “Not Afraid”, director Mikaela Bruce highlights the cinematic truth that you don’t need a ton of dialogue to speak volumes. Such is the case in this heart-wrenching indigenous story set within the sounds and scenery of small-town Montana. A terrific Jashaun St. John plays Olivia, a high school basketball player who quits her team after being suspended. Her Aunt Betty (Kyla Garcia) insists she apologize to her coach. But Olivia’s burden is far heavier than basketball. And her suppressed pain soon becomes too much for her to bear. I won’t give away the reason behind her struggles, but Bruce reveals it with a sensitive touch. It lands an emotional punch that makes us look at Olivia’s story from a new perspective. It also opens our eyes to a broader issue which was clearly an inspiration for this powerful film.

VERDICT – 4/5

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Among the many highlights of the El Dorado Film Festival is its continued support of short films from around the world. A highlight of Day 3 was Short Film Block #1, a curated collection of eight short films spanning a wide variety of styles, themes, and visions. The block featured an eclectic blend of voices from filmmakers who told their stories through an array of genres including drama, dark comedy, science-fiction, and more.

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

From director, writer, and producer Marta Roncada comes “Deliberate”, a compelling and urgent short film that examines predatory relationships with unflinching honesty. Roncada’s film is rooted in personal experience which informs her courageous approach to the story. Kelly Lou Dennis plays Alice, a young woman who pays a surprise visit to her former favorite teacher, Mr. Jacobs (Carl Beukes). As their classroom conversation intensifies, we learn the two had a sexual relationship when she was his student. Roncada employs two fascinating perspectives, finding the humanity in both characters while shrewdly exposing what lies at the heart of such abuse. This is a powerful treatment that will resonate with abuse survivors while calling others to much-needed awareness.

VERDICT – 4.5/5

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In director Thomas Glinkowski’s “Draft Night” we follow a highly-touted basketball prospect (played with an infectious charisma by Joseph David-Jones) through one tense and stressful evening as he waits to see if he will be the #1 pick in the NBA draft. The young prodigy’s facade is one of confidence and swagger. But underneath he struggles to suppress a growing anxiety brought on by the weight of expectations from his family, his agent, and himself. The film is brilliantly conceived, shot, and edited. And while it can be a little on the nose with its messaging, Glinkowski and screenwriter Shawn Williams challenge us to look beyond the glitz and the glamour to see the young man’s soul underneath. That alone is a powerful lesson we all should take to heart.

VERDICT – 4/5

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Director Alex Hanno and screenwriter Wes Hopper tackle our modern day digital addictions in “Detox”, a horror(ish) short film laced with breezy yet spot-on satire. Like so many of us, Shelly (Caitlin Morris) spends too much time online, perusing social media and consuming hours of content. So she makes the bold decision to go on a 48-hour “digital cleanse”. She follows the advice of a self-help guru (voiced by Bill Prokopow) and rents out a remote rural house to focus solely on herself. But when the most unexpected thing in the world happens, we learn that she (and probably a lot of us too) need more than a couple days at an Airbnb to cure our digital addictions. Clever, well-crafted, and wildly entertaining.

VERDICT – 4/5

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Once again the El Dorado Film Festival had the distinct honor of showcasing the Top 5 finalists from the recent Louisiana Film Prize. The growing Louisiana Film Prize is a Shreveport-based short film competition and festival that was founded in 2012. To no surprise, this year’s block included an exciting range of compelling voices from a host of intriguing filmmakers.

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

Writer-director Michael Cusumano brings together two estranged siblings to settle their recently deceased father’s estate in the acidic and smart comedy “Napoleonic Code”. Charity Schubert plays Kat, a New Yorker who travels to Louisiana in order to meet with her brother Mason (Josh Talley). As the two begin sorting through their father’s affairs, Mason broadsided Kat with an unexpected secret. But little does he know, Kat has a pretty big secret of her own. The two stars fully commit and deftly handle what is potentially tricky material. They help Cusumano deliver a smart and witty two-hander that adds a deliciously toxic twist to sibling rivalries.

VERDICT – 4/5

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Logan (Logan Sledge) has been a loving and devoted son to his mother, Pam (Pam Dougherty). But with her deteriorating health due to Parkinson’s disease, Logan is confronted with the new responsibilities of being her full-time caregiver. But while he feels guilty about his frustration, he finds joy in the most unexpected thing. Written and directed by Chris Alan Evans, “Toots.” is an extremely personal work (Evans is a caregiver to his own mother) which is evident in nearly every frame. Both Sledge and Dougherty are terrific while DP Alexander Jeffery relays a wealth of emotion through his graceful lensing. “Toots.” is a touching drama with moments of well incorporated humor. But it’s the profound human pulse that resonates most.

VERDICT – 4.5/5

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Erica Michelle Singleton shines both in front of and behind the camera in the strikingly raw and authentic “Three Sessions”. Singleton directs, writes, produces, edits, and stars in this deftly written and superbly acted drama about a couple whose marriage is on the rocks. Elaine (Singleton) and Paul (Jamad Mays) are at a critical point in their relationship. In a desperate attempt to save their marriage, the two sit down for individual counseling sessions with a therapist named Connie (a terrific Moriah L. Hicks). Singleton’s film is brimming with truth and empathy. Not one single scene comes off as false making this struggling couple’s plight painfully real and worthy of our total investment.

VERDICT – 5/5

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It’s a sad day in Hollywood and in every circle of movie lovers. Authorities have confirmed that screen legend Gene Hackman and his wife, classical pianist Betsy Arakawa, were both found dead in their Santa Fe, New Mexico home. An investigation is underway, and while it has been stated that no foul play is suspected, their deaths have since been categorized as “suspicious”. Gene Hackman was 95.

With a career that spanned six decades, Gene Hackman deservedly became a top name in Hollywood. He has excelled in countless iconic roles across nearly every genre. He won two Academy Awards, two BAFTAs, one Screen Actors Guild Award, and four Golden Globes. So many of his movies are considered timeless including “Bonnie and Clyde”, “The French Connection”, “The Conversation”, “A Bridge to Far”, “Superman”, “Hoosiers”, “Mississippi Burning”, “Unforgiven”, and “The Royal Tenenbaums”.

Hackman retired on his own terms in 2004. As a huge fan of his work, I really missed seeing him on screen. But he has left us with so many treasures to enjoy – treasures that will undoubtedly stand the test of time. Rest in peace Mr. Hackman.