Author Archives: Keith Garlington

EDFF 2025 REVIEW: “Max Dagan”

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Writer-director Terre Weisman tells a deeply human story with “Max Dagan”, a penetrating crime drama that follows two shattered families whose overwhelming personal animosity towards each other leaves everyone involved wounded in one way or another. Weisman’s feature premiered in New York at Dances With Films and just screened at the El Dorado Film Festival. It’s now preparing for distribution and it’s certainly a movie to look out for.

“Max Dagan” is a drama driven by flawed and in some cases damaged characters. It’s a story about bad choices and painful consequences. But it’s also a story about not letting those choices and consequences define you. It’s about overcoming your faults and finding mercy for those who have wronged you. But Weisman doesn’t pretend it’s easy. In fact, it can sometimes feel impossible. Such is the case with the characters in “Max Dagan”, most of whom find themselves struggling with past mistakes.

The altercation that sets the main story in motion takes place in an extended prologue. Ilene Brennan (Lisa Roumain) is a battered alcoholic; John (Richard Neil) is her abusive husband and a cop whose personality can change in a snap. After an argument turns violent, Ilene slips away to secretly meet Albert Dagan (Rob Morrow) who she’s been having an affair with. But a suspicious John surprises them and begins brutally beating Albert. Weisman cuts the scene short, leaving the details a little hazy. But we have a good idea how things played out.

In the incident’s aftermath, John ends up dead and Albert is charged with manslaughter. His lawyer and brother Bob (Rob Brownstein) makes a strong case for self-defense. But the jury finds Albert guilty and the judge sentences him to fifteen years in prison. Left in the rubble is Albert’s 15-year-old son, a guitar prodigy named Max (Harry Holden White) who now has nowhere to go. Bob won’t accept custody for reasons involving his wife that never makes much sense. So Max becomes a ward of the state. But he runs away before he can be taken to a foster home.

From there we jump ahead several years as Max (now played by Zachary Gordon) has become a successful guitar player for a popular rock band. He has also been working hard to get his father out of prison. But so far they’ve lost every parole hearing in large part due to the testimonies of John’s heartbroken daughter, Alaina (a superb Lindsey Dresbach) and a dirty detective named Dan Clancy (Michael Madsen) whose shady motives remain murky throughout.

But a new sense urgency comes after Albert is diagnosed with terminal brain cancer. With only a short time to live, Max hopes his father is granted a ‘compassionate release’ rather than dying in prison. But getting such a release won’t be easy, and it may require working with his uncle who he still blames for not taking him in. It may also require convincing Alaina to show mercy and not testify against his dad.

From there the story unfolds at a well-modulated pace as Weisman unknots and then reties the many narrative threads that make up his story. Meanwhile the performances stay grounded and feel firmly rooted in the gritty and textured Los Angeles setting. DP Tim Banks shoots the city in a way that helps vividly bring the characters and their circumstances to life.

Not everything in the story comes together as it should and we’re left with a few head-scratching questions. But those things don’t stop Terre Weisman from telling a compelling story that is imbued with humanity from beginning to end. The film deals with some weighty subject matter and difficult themes. But in the end it’s the characters who take center stage and who steadily grow through the tensions that bind them. Weisman keeps them as his main focus, and as the audience, so do we.

VERDICT – 3.5 STARS

EDFF 2025 RUNDOWN: Short Film Block #1

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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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EDFF 2025 Rundown: Louisiana Film Prize Top 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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Remembering Gene Hackman (1930 – 2025)

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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.

40 Years Later: “Fright Night” (1985)

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As a proud kid of the 1980s, I cut my cinema-loving teeth on the wild array of movies from that decade. Sitting comfortably among the features I watched most during that time was the horror gem “Fright Night”. Everything about it won over my mid-teen self and I would watch it whenever I had the chance. But sadly I never had the opportunity to see it on the big screen. That is until last night, when “Fright Night” screened at the 2025 El Dorado Film Festival in celebration of its 40th anniversary.

“Fright Night” marked Tom Holland’s directorial debut and over time the film evolved into a bona fide cult classic. To no surprise to its fans, the movie still holds up remarkably well, offering a delightful mix of horror and humor. In 1985, part of the charm of “Fright Night” was in how it celebrated elements of classic horror that came before it. That enjoyment is two-fold for fans watching it today. We look back on it with the same appreciation it had for the movies it was paying homage to.

Image Courtesy of Columbia Pictures

Charley Brewster (William Ragsdale) is a normal suburban 17-year-old with a nice life, a caring mother (Dorothy Fielding), and an adoring girlfriend named Amy (Amanda Bearse) who he’s crazy for. About the only thing he loves as much as Amy is Fright Night, a late night horror television show that is hosted by the famed (and fictional) vampire hunter extraordinaire, Peter Vincent (Roddy McDowall).

The movie kicks into gear after a new resident moves into the creepy old house next door to Charley. His new neighbor is Jerry Dandrige who’s played by a perfectly cast and devilishly alluring Chris Sarandon. Over the next several days, a nosey Charley secretly (and sometimes not so secretly) observes some alarming happenings at the Dandrige house eventually leading him to a shocking conclusion – his new neighbor is a vampire.

Both Amy and his mother are quick to dismiss his theory as ridiculous. He next calls the police who investigate. But they find nothing to back his claims and he manages to irritate Dandrige in the process. Out of options, a determined Charley seeks the help of his hero, Peter Vincent. Bad ratings has the disillusioned television host ready to give up the whole vampire hunter act. But Charley’s persistence (and a little cash from his friends) wins Peter over and he reluctantly agrees to humor his loyal and sincere fan.

Of course this is horror movie so we learn quick that Charley is right about Dandrige. But the real fun is in watching him trying to convince Peter and their eventual tag-team effort to vanquish this “foul creature of the night”. Together, Ragsdale and McDowall have a terrific mix of dramatic and comic chemistry. Holland has said “Charley Brewster was the engine, but Peter Vincent was the heart.” I agree yet neither works without the other. And together they don’t work without the energy brought by Ragsdale and McDowall.

Image Courtesy of Columbia Pictures

A healthy bulk of the movie’s $9-plus million budget went to the special effects and you can certainly tell. Academy Award winner Richard Edlund led a talented team of VFX wizards and makeup artists who used an impressive array of pre-digital trickery including optical photography, matte paintings, furniture dollies, contact lenses, facial prosthetics, and body suits. It gave us what remains a true highlight of the bygone practical effects age.

In the grand scheme of vampire movies, I wholeheartedly believe “Fright Night” to be an underrated classic. And as mentioned above, it’s a horror movie that still holds up today. It’s driven by a fabulous collection of characters, an unabashedly fun story, some deliciously gory effects, and a steady seasoning of good humor. Along the way Holland has a blast in the vampire movie sandbox, playing with the well-established mythologies that so many of us know by heart.

VERDICT – 4.5 STARS

RETRO REVIEW: “Sorcerer” (1977)

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What started as a modest side project evolved into one of director William Friedkin’s very best films and one of the unheralded masterpieces of the 1970s. Released in 1977, “Sorcerer” was Friedkin’s feature film follow-up to his enormously popular “The Exorcist” and it couldn’t be a more different movie. Given the massive success of “The Exorcist”, Friedkin was pretty much given carte blanche for whatever he chose to do next.

But as his vision grew, notoriously so did his budget. Friedkin’s insistence on filming on location deep in the jungle and his intense dedication to a documentary-style authenticity led to expensive shoots and costly delays. To make matters worse, the movie was not well received by critics. And its troubles were only compounded when it released in the same window as George Lucas’s groundbreaking “Star Wars”. As a result, “Sorcerer” earned back less than half of its production budget.

Here’s the thing, while Friedkin’s ambition pushed production to (and sometimes past) its limit, that very ambition is the fundamental reason “Sorcerer” is a truly great movie. His determination to shoot on location and his commitment to realism cements the very foundation of the film and impacts everything including the austere visuals and nontraditional storytelling. As for the critical response, there has been a significant reassessment in recent years with the movie finally getting the positive appraisal it deserves.

Image Courtesy of Universal Pictures

Written for the screen by Walon Green (his first script since penning 1969’s “The Wild Bunch”), “Sorcerer” is based on Georges Arnaud’s 1950 novel “Le Salaire de la peur”. Of course “Sorcerer” isn’t the first adaptation of Arnaud’s book. That honor belongs to director Henri-Georges Clouzot’s acclaimed 1953 thriller “The Wages of Fear”. Many have referred to “Sorcerer” as a remake of Clouzot’s film. But Friedkin rejected that notion, stating his focus was always on Arnaud’s original source material.

The film opens with a prologue that plays out through four vignettes. Each is dedicated to an unsavory criminal and the crime that put them on the run. In Mexico, an assassin named Nilo (Francisco Rabal) neatly executes an unsuspecting target. In Jerusalem, a terrorist named Kassem (Amidou) is the only member of his group to escape after detonating a bomb in the city. In Paris, a crooked businessman named Victor (Bruno Cremer) is about to be charged for fraud. And in New Jersey, an Irish gangster named Jackie (Roy Scheider) gets in hot water after his crew steals money that belongs to the Italian Mafia.

Among its several themes, “Sorcerer” is a cynical treatise on the inescapable hand of fate. That comes fully into focus once all four men end up in the same small impoverished South American village of Porvenir. Friedkin and his cinematographer John M. Stephens (who took over for Dick Bush) render the village with jaw-dropping authenticity. Every frame is teeming with detail and there is a tangibility to everything – the sweat, the rust, the grime, the despair.

Porvenir is essentially a forsaken spot marred by poverty, corruption, and unrest – a place where hope is as foreign as prosperity. There our four criminals take on aliases and go about their individual lives, laying low and working menial labor for low pay. But fate reemerges following a massive explosion at a nearby oilfield that’s ran by an American oilman named Corlette (Ramon Bieri).

To extinguish the raging fire Corlette needs to cap the oil well. But he needs dynamite to do it. And the only available dynamite is miles away in an old shed deep in the jungle. To make matters worse, the dynamite has sat in crates for nearly a year and is seeping nitroglycerin making it dangerously unstable. But Corlette is desperate. So he heads back to Porvenir in search of four experienced truck drivers, offering a big payday for anyone willing to transport the dynamite to the oilfield.

Image Courtesy of Paramount Pictures

The offer brings together Jacki, Victor, Kassem, and Nilo, each needing the money if they’re ever to get out of Porvenir. And that sets up the tension-drenched second half which follows the four men as they attempt to navigate two trucks, carrying three cases of dynamite each, across 218 miles of mountainous jungle terrain. Along the way they face muddy roads, treacherous bridges, and torrential rainstorms, all while transporting cargo that the tiniest vibration could cause to explode.

This is where Friedkin’s filmmaking reaches its pinnacle as he creates scene after scene of white-knuckle suspense. None are more harrowing than them crossing a dilapidated suspension bridge as their trucks are battered by violent winds and sheets of rain. Meanwhile the character work remains strong as the four strangers bound by fate are forced to work together if they’re to have any hope of surviving. Nothing close to friendships ever form, making their relationships feel more grounded. And we find ourselves thoroughly invested in seeing these ‘bad guys’ through to the end.

With “Sorcerer”, William Friedkin pushed aside all traditional methods of big screen storytelling to make something uniquely timeless. Its world is cruel and forbidding; its characters are flawed and unglamorous; its story is dark and downbeat. But those are hardly faults. “Sorcerer” remains top-tier cinema and a true 70’s hallmark that’s highlighted by immersive storytelling, strong performances, and extraordinary craftsmanship. And as the film’s more recent reassessments have shown, those are the kind of things that never age out.

VERDICT – 5 STARS