EDFF 2026 RUNDOWN: Short Film Block #1

February 28, 2026 by Keith Garlington

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

February 27, 2026 by Keith Garlington

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)

February 26, 2026 by Keith Garlington

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.

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.

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)

February 25, 2026 by Keith Garlington

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.

REVIEW: “Kill Bill: The Whole Bloody Affair” (2025)

February 24, 2026 by Keith Garlington

Quentin Tarantino originally conceived, wrote, and produced Kill Bill as one single film. But marketing an over four-hour movie concerned his producers. So Tarantino and Miramax compromised, deciding to divide the film into two feature-length volumes to be released six months apart. The acclaimed director wouldn’t have to cut major scenes and the producers could release two movies in an effort to maximize profits. It worked out for both. Tarantino’s creative control was kept in tact while the films were box office hits.

Now here we are, some 23 years later, and Tarantino still hasn’t changed his creative perspective on Kill Bill. Sure, he was forced to compromise to a degree for certain commercial demands. But he still sees it as one movie. And now that he fully owns the rights, he is able to give fans the single-film experience that he always envisioned. And he does so with “Kill Bill: The Whole Bloody Affair”.

Considered to be the fourth film by Quentin Tarantino, Kill Bill remains one of the most audacious genre mash-ups ever put to screen. “The Whole Bloody Affair” brings a noticeable cohesion to what was previously two movies, allowing Tarantino’s many creative flourishes to work more in unison. It also energizes his nonlinear storytelling, adding a near seamless fluidity to his frequent timeline jumping.

But more than anything, “The Whole Bloody Affair” fully immerses us in Tarantino’s full-throttled celebration of the movies and genres that have helped define him as a filmmaker. He finds inspiration everywhere from the grindhouse to the arthouse, plucking ideas and style choices from spaghetti westerns, kung fu cinema, samurai films, pulpy exploitation, and even anime. But it’s his ability to wrangle it all together that impresses most. It’s one thing to pay homage. It’s something else to turn it into such a singular experience as this.

I won’t rehash my thoughts on Kill Bill’s sprawling revenge-fueled story (you can read them [HERE] for Volume 1 and [HERE] for Volume 2). All of its killer beats still hit with the same exhilarating force – the now iconic fight sequence at The House of Blue Leaves; the superbly crafted wedding rehearsal flashback; the tension-soaked duel with O-Ren; the tight-quartered throwdown with Elle; the fierce confrontation with Veronica; the suffocating buried alive scene. They remain extraordinary. But when viewed together as one piece, everything feels bigger, bolder and vastly more epic in size, scale and personal stakes.

Similarly, Uma Thurman’s spectacular lead performance can be appreciated as an even grander achievement. The multi-faceted brilliance of what she accomplishes stands out even more when absorbed in one sitting. She brings grit, resilience and ferocity, but also a striking vulnerability to the Bride’s blood-drenched revenge tour. She anchors the incredible action while finding the rich emotional complexity that Tarantino wrote into the character.

Even the already exceptional supporting cast seems to shine just a tad brighter in this fully realized version. David Carradine, Lucy Liu, Daryl Hannah, Michael Madsen, Vivica A. Fox, Sonny Chiba, Michael Parks, and Gordon Liu bring layers of personality and charm. And they only scratch the surface when it comes to memorable characters in Tarantino’s vibrant and violent world.

“The Whole Bloody Affair” brings with it a handful of additions and subtractions that enhance the overall experience. For starters, Tarantino cuts a major spoiler that was slapped onto the end of Volume 1 as a cliffhanger finish. Without it, the true ending has far more dramatic impact. He also removed the transitions to black-and-white during the epic fight against the Crazy 88s which was originally added to satisfy the ratings board. And he added an extended version of Production I.G.’s terrific anime sequence. Overall, with its extra footage, “TWBA” runs 27 minutes longer than the two original films combined.

It’s also easier to appreciate Tarantino’s willingness to take big swings – narratively, technically and stylistically. His screenplay remains daring and defiant, both in structure and in substance. It veers here and there and we enjoy every detour his story takes. And Kill Bill is still a visual feast, with Tarantino and DP Robert Richardson indulging in split-screens, closeups, tracking shots, trucking shots, slow-motion pans, quick zooms, and more. And of course there is Tarantino’s unabashed style which impacts every frame. The movie wouldn’t be the same without it.

“The Whole Bloody Affair” is Quentin Tarantino’s uncut, unrated, and unleashed magnum opus. It’s the fulfillment of a former video store clerk’s dream and a virtuosic showcase for one of the most defining auteurs of our time. Tarantino’s definitive version is a visceral experience that retains everything we love from Volumes 1 and 2 yet makes it feel as if we’re discovering something new for the very first time. It’s a remarkable feat and we’re fortunate to be here for it.

VERDICT – 4.5 STARS

REVIEW: “Psycho Killer” (2026)

February 23, 2026 by Keith Garlington

Georgina Campbell has been earning her stripes as a bona fide scream queen, having starred in 2022’s “Barbarian”, 2023’s underrated “Bird Box Barcelona”, 2024’s “The Watchers”, 2025’s “Influencers”, and the fun genre-bender “Cold Storage” from earlier this month. Now she dives right back into the horror genre with “Psycho Killer”, a movie with all the potential to be one of the darkest and more twisted chillers this year (just check out its killer trailer for proof).

Unfortunately, “Psycho Killer” falls well short of its potential due to its scattershot storytelling, some mind-boggling choices, and an ending that feels yanked from another movie entirely. Its especially surprising considering it’s written by Andrew Kevin Walker who penned two David Fincher gems, 1995’s “Seven” and 2023’s “The Killer”. But despite beginning with so much promise, “Psycho Killer” struggles to create anything cohesive out of its big ideas and noteworthy inspirations.

**Image Courtesy of 20th Century Studios**

Director Gavin Polone wastes no time getting things started. Campbell plays Jane Archer, a Kansas State Trooper who witnesses her husband and fellow officer Mike (Stephen Adekolu) fatally shot during a traffic stop. The killer gets away and is later identified as a wanted serial killer who has committed a string of interstate homicides spanning six states. Dubbed the “Satanic Slasher”, his M.O. includes leaving behind various satanic symbols at the crime scenes, scrawled in his victim’s blood.

Determined to end the Slasher’s spree, Jane uses her two-week provisional leave to track down her husband’s killer, following his trail of bodies while attempting to head him off before he strikes again. She makes a number of alarming discoveries along the way which enables her to build a possible profile. Yet the Slasher remains one step ahead of her, continuing his random killing spree with an ultimately goal that no one sees coming.

So far so good. It’s a sturdy setup that could go in any number of interesting directions. Instead it turns into a base level cat-and-mouse story with Jane tracking the killer across the Midwest like a super sleuth while the incompetent local authorities sit around twiddling their thumbs. With the brief exception of one lone FBI agent (Grace Dove), Jane is left on her own, jumping from jurisdiction to jurisdiction and getting more done than the local cops and the feds combined.

Meanwhile the hulking Slasher (played by former wrestler James Preston Rogers) goes about his bloody business, somehow avoiding suspicion despite sticking out like a sore thumb. He’s an obvious presence who is built like a Mack truck and who talks like he’s voicing some galactic supervillain in a Marvel movie. He’s undeniably menacing especially when he slips on his creepy radiation mask. But how on earth does he stay at large?

Things really turn preposterous in the second half. And it doesn’t get any goofier than when the Slasher visits a gated mansion owned by a Satanic cult leader named Pendleton (Malcolm McDowell). Pendleton and his five young coke-snorting followers briefly (and unintentionally) yank the movie in an utterly absurd direction. Shortly after that, the movie takes another bizarre turn with a final act that feels miles removed from everything that came before it.

Somewhere inside of “Psycho Killer” lives a good idea waiting to be realized. Campbell gives another strong lead performance that’s begging for better material. And Polone doesn’t shortchange us on the blood and gore. But those things aren’t enough to overcome the confounding lack of cohesion. And the story only unravels more as it progresses. It’s a case of a movie that doesn’t lack vision. It just lacks the know-how needed to translate it onto the screen.