Celine Song gave us one of the best directorial debuts in recent history with 2023’s “Past Lives”, an aching drama that earned Academy Award nominations for Best Picture and Best Original Screenplay. As a result, many of us have been anxiously anticipating what she was going to do next. Now we get a taste following the release of the first trailer for “Materialists”, a romantic drama with three pretty big names leading the way.

Dakota Johnson, Pedro Pascal, and Chris Evans star in a film that looks as if it’s leaning into a more traditional romantic story. Johnson plays Lucy, a successful matchmaker who suddenly finds herself torn between two men, a dashing millionaire named Randy (Pascal) and a re-emerging old friend named John (Evans) who she has a lot of history with. Again, the story doesn’t sound like anything new. But Song has such a compelling cinematic voice and I’m excited to see what she has to say. Meanwhile Johnson and Pascal are intriguing pieces. Evans – we’ll see.

“Materialists” opens in theaters June 13th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Only three years removed from making the $1.5 billion mega-hit “Top Gun: Maverick”, director Joseph Kosinski is back in a cockpit of a different kind. This time he’s entering the fuel-injected world of Formula One racing with the aptly titled “F1”. Joined by an all-star cast of actors and real-life drivers, Kosinski and company have made a movie with a broad appeal. Whether you’re a racing fan or not, “F1” looks terrific. Just check out the killer new trailer for proof.

Brad Pitt plays Sonny Hayes, a former F1 driver who retired following a devastating crash. He’s persuaded by his old friend and Formula One team owner Ruben Cervantes (Javier Bardem) to come out of retirement and help mentor a young hotshot prodigy (Damson Idris). While the chance to race again is too good to pass up, the kid’s cockiness proves to be more than Sonny bargained for. The great Kerry Condon, Tobias Menzies, and Shea Whigham also star in what looks to be an exhilarating experience.

“F1” races into theaters on June 27th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

The El Dorado Film Festival saved one of its best short film blocks for last. As its name reveals, the Southern Made selections highlights a wonderfully curated assortment of short films that have a distinct Southern flavor to them. Together they make for a diverse and entertaining collection that once again promotes a wide arrange of styles and visions.

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

“Love is Neat.” takes the simplest of titles and the oldest of stories and turns it into a bittersweet tale of self-discovery. Director, writer, producer, and editor Taylor Deville attempts to add her own unique spin to the storybook romantic comedy. She starts by introducing us to James (Caleb Lemon) who genuinely hates his job as a barista at a small coffee shop. But he sticks with it because of Jessica (Anne Nichols Brown), a regular customer who won’t give him the time of day. He obliviously believes she is his dream girl, but over time reality sets in with the help of a straight-shooting bartender named Kate (Ivy McGrew). Deville’s romcom inspiration is hard to miss. But her film has a lot of charm and a good central message that comes together nicely by the end.

VERDICT – 3.5/5

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Of the many films at the 2025 El Dorado Film Festival, there was nothing quite like “Fast”. This entertaining psychological horror and black comedy genre blend came from the mind of writer-director Clayton Henderson who puts a gonzo spin on his own personal experience with fasting. Desperate to lose weight, Jake (Samuel Bosh) is put on an extended fast by his maniacal personal trainer (Donnovan Roe). It’s an intense regiment consisting of seven days with no food. During that time, all he is allowed to drink is bone broth. He’s doing it for his girlfriend Sydney (Sara Patterson), but over time he begins to mentally unravel, culminating in a suitably bonkers finish that’s sure to get a reaction. Henderson has a blast dabbling in horror while making his audience laugh. At the same time, his themes of self-confidence and fulfillment really strike a chord.

VERDICT – 4/5

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David Michael Long grabs your attention with his work in front of and behind the camera in “The Artiste”. Long directs, writes, and stars in this dark dramedy of sorts that follows his character Terrence, a frustrated and temperamental street mime who encounters a man named Ben (Paul Petersen) who starts as a nuisance and turns into an admirer before becoming a rival. “The Artiste” is equal parts funny and sobering with much of its energy coming from Long and Petersen’s well-tuned chemistry. But most of all it’s the themes at its core that gives the film its identity. Holding onto your legacy, art versus entertainment, fleeting fame in the viral era – just some of things on Long’s mind in this well-conceived and well-made short.

VERDICT – 4/5

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Shirley Ford (Gail Cronauer) is an 83-year-old widow from East Texas who gains an unhealthy infatuation with a fellow she sees as the spitting image of the Marlboro Man in director Diffan Sina Norman’s shrewd and unpredictable film “Pasture Prime”. Shirley first lays eyes on Marvin Clope (Patrick Kirton) when he pays a visit to her church. The two have a friendly greeting which (for Shirley) turns into a wild obsession. Her son Dean (Chris Alan Evans) and daughter-in-law Debbie (Susan Kirton) plead for her to leave Marvin alone, but for Shirley that’s easier said than done. Norman and screenwriter Carolyn Purnell approach the story with an almost Hitchcockian verve. But sprinkled in with the eerie music and earnest narration are moments of well-timed humor which help give the film its form.

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A seasoned but disillusioned magician prepares for his final performance in director and screenwriter Jeremy Enis’ “The Stage”. A terrific Lance E. Nichols plays Arthur, a classic magician who has owned and performed in his own theater for years. But just as he’s about to go onstage, he surprises his faithful and longtime assistant, Evelyn (Sherri Eakin) with the news that this will be his last performance. Even more, he’s determined that he doesn’t need her for his final show which he will end with a brand new trick. But as the two cut through their frustrations and begin pouring their hearts out, the film reveals a real beauty in tragedy. Enis puts a lot of heart into this well-written two-hander that is ultimately a showcase for Nichols and Eakin. The two beautifully convey the emotional stakes through an onscreen exchange so rooted in truth that you nearly forget you’re watching a screen.

VERDICT – 4/5

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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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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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