Author Archives: Keith Garlington

EDFF 2025 REVIEW: “Anxiety Club”

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Director Wendy Lobel poured years of her life into making “Anxiety Club” and the end result is pretty terrific. This funny, truthful, and ultimately hopeful documentary focuses on a group of working standup comedians, all of whom suffer from some form of anxiety. Informed by her own experiences, Lobel tackles the subject through an open and honest lens, not only letting the comics share their struggles, but in some cases showing what they’re doing to get hold on their anxieties.

Full disclosure – I’ve never been a big standup comedy guy. But it’s a testament to the effectiveness of Lobel’s film that I found myself fully connected to the collection of comics who shared their stories. Among them are Tiffany Jenkins, Marc Maron, Joe List, Aparna Nancherla, Mark Normand, Baron Vaughn, and Eva Victor. All bring their own distinct humor to the film. But it’s when their barriers are down that they get real about their own bouts with anxiety.

Lobel does a good job developing trust and a comfort level with the comics. Many speak to their lack of self-confidence that in some cases leads to an expectation of failure. Others talk about the weight of depression. In the case of one comic, their anxiety stems from persistent worrying. Early on, the comics use jokes to poke fun at their conditions. But later we get a good sense of the near crippling effect these anxieties have on them.

“Anxiety Club” doesn’t just present the struggles these comedians endure. It also shows how they’re trying to overcome them. Some see their comedy as therapeutic with the stage being their outlet. Others went for more formal therapy which Lobel gets incredible access to. During several sessions her camera sits like a fly on the wall, allowing us to see the doctor/patient process firsthand. The exchanges are sometimes funny, sometimes heartbreaking, and always enlightening.

Whether in comedy clubs or therapist offices, there is a truth and authenticity in Lobel’s approach that ultimately gives “Anxiety Club” its punch. In can be very funny in ways that sometimes feel like natural defenses. Other times it’s simply due to the inherently comical natures these comics share. But we never lose our grasp on the film’s more serious undertones. Lobel handles that balance incredibly well.

Again, I’ve never been big into stand-up comedy, but that instantly proved to be irrelevant. That’s because “Anxiety Club” is much more concerned with the people themselves. This is a richly human documentary that explores a subject nearly everyone can relate to. Honing in on people who make others laugh for a living poses its own compelling and thoughtful questions. But it’s their shared experiences with anxiety that extends beyond their work that will connect with people and earn our empathy and understanding.

VERDICT – 4 STARS

EDFF 2025 Rundown: Arkansas Shorts Block

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The El Dorado Film Festival has treated cinema lovers to a fascinating variety of short films from all around the globe. But it has always taken the time to showcase an exciting range of filmmakers with Arkansas connections. The year’s Arkansas Shorts Block featured an impressive group of films that offer just a sample of the filmmaking talent found right here in the Natural State.

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

Director Jennifer Gerber’s intriguing short film “Generational” takes a family drama and adds a pinch of psychological horror to tell an affecting story that many people are sure to connect with. Gerber and co-writer Samuel Brett Williams introduce us to Layla (Harper Keith) and her mother Katie (Lacy Dunn) as they get ready to leave home for a cheer audition. Layla gets a phone call from her distressed grandmother, Diane (Kristine Artymowski) and insists they check on her despite Katie’s objections. What they find is troubling to young Layla who makes a life-changing discovery about her family. Strong performances, solid production value, and Gerber’s shrewd handling of the material ensures “Generational” leaves a deeply felt impression.

VERDICT – 4/5

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Co-directors Laura Shatkus and Russell Sharman bring their own special seasoning to the traditional Thanksgiving dinner in “Carving”. Working from a script by John Walch, the directing duo craft a compelling daddy/daughter story that keeps you involved right through to its gut-punch ending. Two terrific performances anchor the story. Tyler Meredith plays a young woman named Sarah who is preparing for her first Thanksgiving since splitting from her husband, Pete. She asks her father Davis (Eric Dean White) to teach her how to carve a turkey. In the process, the two have an extended conversation that cut me right to the heart. The film was shot in one uninterrupted take with DP Adam S. Hogan employing an array of techniques including slow zooms, pans, and tracking shots. It’s exceptionally well executed and plays a crucial part in telling this subtly rich and poignant story.

VERDICT – 4.5/5

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A granddaughter Clark (Andie Van Kuren) and her grandfather George (Barry Clifton) playfully set up a plan to sucker his Vietnam war buddies at their next poker match in the sweet yet genuine short film “Two of a Kind”. Clark has gotten closer with her grandfather since he began teaching her how to play poker. In one lesson he instructs her on how to notice when other players are tipping their hands, namely his three friends and fellow vets (charmingly played by the trio of Marx Mitchell, Faron Ledbetter, and John Gale). Director, writer, and producer Skylar Nelsen shows great instincts by leaning into her characters and giving her actors room to bring out their personalities. And once the game starts, Nelsen makes us feel as if we’re at the table, playing cards, laughing at corny cracks, and soaking up old heartfelt war stories.

VERDICT – 4/5

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Though only six minutes in length, there is an overflow of personality, heart, and humor in “Little Bit”, a spirited, inspiring, and well-made documentary short film from director Raeden Greer. Following up her powerful and thought-provoking 2023 film “The Hill We Climb”, Greer’s latest shares the story of Elaine “Little Bit” Kirkpatrick whose 25-year career as a heavy equipment operator turned heads in what remains a male-dominated industry. Shooting in Kirkpatrick’s home, hearing her experiences in her own words, sharing old snapshots from past jobs, incorporating dashes of stylish animation – it all adds character and texture especially when combined with Kirkpatrick’s infectious energy and charm. Greer has teased the idea of a series of similar films highlighting trailblazing women. Here’s hoping it happens.

VERDICT – 4.5/5

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Early into “Smoothie” it’s hard to make out what the film is going for. That ends up being key to the genius of director, writer, and editor Chris Churchill’s sly and restrained drama. Michael B. Woods plays John, a model stay at home dad on the surface. While chopping up fruit for smoothies, his daughter’s best friend Lily (Rylee Bolls) pays a surprise visit. Their conversation that follows is revealing in a number of ways. Chief among the revelations, Lily informs John that she spotted him the night before with another woman. I won’t spoil how things plays out, but uncertainty mounts once John’s wife Annie (Kristen Bush) comes home. The performances are a real strength as is Churchill’s patient uncoiling of his story. He leaves us with plenty of questions which fits with the elusive truth at the heart of his film.

VERDICT – 4/5

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REVIEW: “Queen of the Ring” (2025)

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“Queen of the Ring” takes us on a historical journey through the underground turned mainstream world of women’s wrestling. Writer-director Ash Avildsen does so by telling the story of Mildred Burke, a pioneer of her day who overcame a litany of obstacles and biases to put women’s wrestling on the map. From the early 1930s to the late 1950s, Burke would earn multiple championships and draw big crowds wherever she wrestled. She would go on to become the first million-dollar female athlete in sports history.

“Queen of the Ring” is inspired by journalist Jeff Leen’s 2009 book “The Queen of the Ring: Sex, Muscles, Diamonds, and the Making of an American Legend”. It stars a spirited and intensely committed Emily Bett Rickards who plays Mildred “Millie Muscles” Burke with tenacity and grit, capturing what made the legend special both inside and outside of the ring. It’s a breakout performance from Rickards who wonderfully balances sheer physicality with emotional vulnerability.

Image Courtesy of Sumerian Pictures

Avildsen chronicles different phases of Burke’s remarkable career, beginning with her time as a single mom working as a waitress in a diner owned by her mother, Bertha (a very good Cara Buono). Her dream is born after attending a Kansas wrestling event led by mid-tier wrestler turned manager Billy Wolfe (Josh Lucas). Later, Billy and his son G. Bill (Tyler Posey) come into their diner where Millie introduces herself and begs for Billy to train her. It takes some convincing but he eventually agrees.

Millie proves to be quick learner and she and Billy fall in love. Millie agrees to marry Billy much to the chagrin of her disapproving mother. They end up taking her act on the road, working carnivals across the Midwest where Millie would wrestle (and beat) men for paying audiences. Billy sees there’s money to be made and begins adding more lady wrestlers to his stable. Among them is the plucky Mae Young (Francesca Eastwood), the ambitious Elvira Snodgrass (Marie Avgeropoulos), and the driven Gladys Gillem (Deborah Ann Woll).

But Millie’s rise to stardom has its obstacles. First, in many territories it was illegal for two women to wrestle each other which made it difficult for Billy to showcase her talent in certain big venues. Then there is a brutal knee injury she suffers at the hands of a brawny Texan named June Byers (a striking Kailey Farmer) which puts her out of commission for several months. But the biggest obstacle is Billy, whose rampant infidelity and suffocating control leads to a marriage that’s nothing more than a business arrangement.

During a festival presser, Avildsen revealed that at least an hour of footage had been cut from the final release and you can tell. For example, the movie speeds through Millie’s entry into wrestling at such a rapid pace that we never get a good sense of what drew her to wrestling or what inspired her to push forward in the early days. And later on there are noticeable gaps in the timeline which you can’t help but miss.

Image Courtesy of Sumerian Pictures

But honestly, those things piqued my interest more than hurt my experience with the movie. That’s because there is so much else to keep you involved, starting with Rickards standout performance. The supporting cast are fantastic as well, with especially strong turns from Lucas, Eastwood, Buono, Farmer, and Woll. We even get the great Walton Goggins as crafty wrestling promoter Jack Pfefer. Then you have Sofija Mesicek’s impeccable costumes, Molly Coffee’s period-perfect production design, and Andrew Strahorn’s rich cinematography – all key reasons why we feel transported from the first to last frame.

With “Queen of the Ring” Ash Avildsen pulls us into a world that may be foreign to many. He takes several liberties (some pretty significant) in chronicling Mildred Burke’s fascinating true account. But most of his choices add to the drama without taking away from the trailblazing spirit of her story. The wrestling scenes inside the ring are thrilling, the bonds that form outside the ring are authentic, and Millie’s resilience in the face of countless adversities is nothing short of inspiring. “Queen of the Ring” hits select theaters March 7th.

VERDICT – 4 STARS

EDFF 2025 REVIEW: “Breakup Season”

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Set during what the late, great Andy Williams christened as “The Most Wonderful Time of the Year”, writer-director H. Nelson Tracey’s “Breakup Season” is a hard movie to categorize (which is actually a strength). At times you’ll swear you’re watching a romantic comedy. Other times it plays like a sensitive domestic drama. And it’s all festively wrapped as a holiday movie. It just screened at the 2025 El Dorado Film Festival and earned quite a reaction from an enthusiastic audience who were all onboard with what Tracey was going for.

Ben (Chandler Riggs) has big holiday plans with his girlfriend Cassie (Samantha Insler). He has made the decision to take her to his hometown of La Grande, Oregon to meet his family for the first time. Their plans are to stay seven days with his colorful crew which consists of his parents, Mia (Brook Hogan) and Kirby (James Urbaniak), and his two siblings, his older brother Gordon (Jacob Wysocki) who recently moved back in with his folks after his own messy breakup, and his younger sister Liz (Carly Stewart) who is a rabid social media maven.

The initial greetings go well despite Cassie seeming a bit detached. But things sour at the dinner table as blowhard Gordon relentlessly hounds Cassie over being a vegetarian. But the big turn comes later than night when Cassie informs Ben that she wants to break up. Her plans are to stay the night and then book a flight to Portland first thing in the morning. But those plans are squashed after a snowstorm forces road closures and shuts down all flights.

And that sets up the bulk of the story as Cassie is snowed in with the guy she just broke up with and his family who she hardly knows. While she begins to bond in unexpected ways with Ben’s folks, she grows more irritated with him. On one hand, Cassie is opaque to a fault and not really able to explain to Ben why she wants to split up. “It just feels like clockwork,” is the best she can come up with. Meanwhile a well-meaning Ben is oblivious to the point of smothering Cassie. His constant badgering only pushes her further away.

Ben’s family adds energy and personality to the story while playing their own specific roles. For example, Gordon and Liz are mostly there to add some welcomed comic relief. As for Mia and Kirby, they’re always around to speak truth whenever things get heavy. Yet while they play the parts the story needs them to, these aren’t one-dimensional characters. Tracey gives each of them their own distinct identities which helps create an entertaining and organic family dynamic.

As for Ben and Cassie, Tracey strikes a good balance of sympathy and frustration. At times I found myself put out with Cassie and sympathetic towards Ben. Later I might be annoyed at Ben while having sympathy for Cassie. Neither are villainized and by the end we recognize them both as ordinary people navigating a tough situation the best way they know how. That said, I did find myself slightly siding with one more than the other. But it could be different for someone else which speaks to the genius of how they’re written.

“Breakup Season” boasts a superb cast, a smart and assured script, and a savvy director who avoids the many traps that can come with this kind of material. Tracey sticks with his convictions rather than go a more conventional route. His film takes breakups seriously, showing them as messy, painful, and often hard to sort out. Add in a healthy helping of humor and you have a movie that tells a poignant relationship story while making us laugh along the way.

VERDICT – 4 STARS

Random Thoughts: The 2025 Academy Awards

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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.

No expression better encapsulated the night.

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).

EDFF 2025 Rundown: Short Film Block #2

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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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