The 2025 awards season mercifully comes to an end (in mid-March 2026!!!) with the 98th Academy Awards. The entire season has been almost robotic in its doting over the same tiny select handful of films. From small critics groups to major awards shows, it’s been the same few winners over and over again. That mostly remained the case with this year’s Oscars although the show did provide a few nice moments and a couple of welcomed semi-surprises.

But enough of the rambling/ranting. As I do every year, here are a few random thoughts on this year’s Academy Awards.

• The awards season darling “One Battle After Another” was the big winner and it was no surprise. While some outlets tried hard to manufacture some drama, the voter’s pet’s big night had been preordained. It’s not a good movie, but it checks the right boxes. And it has been the season’s Chosen One since it first screened. Sadly nothing else had a chance.
• Of course “One Battle After Another” wins Best Picture which was never in any serious doubt. It had won everything leading up to Oscar night which only shows how programmed these things have become. Even funnier, it’s the third subpar movie to win Best Picture in four years. Yikes.
• Staying with the obvious, Paul Thomas Anderson won Best Director for “One Battle After Another”. It feels more like a lifetime achievement award rather a deserving directing win, but whatever.
• One thing the Academy got right was Michael B. Jordan winning Best Actor for “Sinners”. It’s an utter travesty that Daniel Day-Lewis and Joel Edgerton weren’t even nominated. But Jordan’s performance was right there with them. He was the best choice and the right choice.

• The Academy also nailed it by giving Jessie Buckley the Best Actress award. She had been winning big all season, but it was still great to hear her name called. She has been such a delight all season.
• To its shame, the Academy sent “Train Dreams” home NO Oscar wins. It was the very best film of the year and the idea of it going home empty-handed (especially considering some of the big winners) is beyond ridiculous yet not surprising.
• Not as shameful, Josh Safdie’s “Marty Surpreme” went home with nothing. While it never had much of a chance, its star Timothée Chalamet was once touted as the early Best Actor frontrunner. But that changed quick and now its off to promote the upcoming “Dune: Part Three”.
• Host Conan O’Brien kicked off the show with great “Weapons” themed opening sketch that was well produced and absolutely hilarious. It was the kind of opening that really kicked the show off with the bang. I’ve already watched it two more times on YouTube.
• Overall Conan’s monologue had some funny bits but it went on for way too long. Twenty minutes was too much, especially when they started cutting acceptance speeches short. C’mon Academy.
• So there was actually a tie at last night’s show. It came in the Live-Action Short Film category with the terrific “Singers” sharing the award with “Two People Exchanging Saliva”. It’s only the seventh time in Oscars history that a tie has happened.
• “One Battle After Another” also wins the first ever Oscar for Best Casting. I will give it credit for having a lights-out cast. It’s just too bad they didn’t have better material to work with. Most people thought this would go to “Sinners” and frankly it should have.
• One of the best wins of the night was in the Supporting Actress category. Amy Madigan takes home the trophy for her bonkers, terrifying, and hilarious performance in “Weapons”. It was unlike anything else we saw all year and deserving of all the awards.
• The exact opposite happened in the Supporting Actor category. Sean Penn gave one of the most absurd performances of the year in “One Battle After Another” and was given an Oscar for it – his third. Penn winning over Stellan Skarsgård is insanity and it blows the category’s credibility out of the water.
• Just to vent a bit more, Stellan Skarsgård gave one of very best performances of the year in any category. His stunning turn in “Sentimental Value” was another great addition to a career full of stellar work. Yet he has still never won an Oscar. That should have changed last night. Unfortunately Penn’s ludicrous over-the-top theatrics registered more with voters than the raw, authentic humanity that Skarsgård delivered. Go figure.
• Predictably “One Battle After Another” won for Best Adapted Screenplay despite being the messiest adapted screenplay out of the nominees. “Train Dreams” should have won, but (once again) nothing else stood a chance.
• Equally predictable, Best Original Screenplay went to “Sinners”. It’s a decent win although “Sentimental Value” was by far the best of the group. That said, Ryan Coogler’s acceptance speech was one of the best of the evening. Humble, grateful, and wonderfully grounded. I’m glad he won just for that!
• It was great to see “Sentimental Value” win Best International Feature. It was basically pushed aside in every other category, some of which it deserved to win. Thankfully it didn’t go home with nothing.
• Cheers to Ludwig Göransson who won his third Academy Award for Best Original Score. This year it was for his incredible work on “Sinners” and (once again) it was well deserved. He is a genius composer who never disappoints. He also gave a terrific acceptance. It won’t be his last.
• The In Memoriam segment offered a fitting tribute to the many great talents lost over the last year. I was a tough watch, especially when clips of Robert Duvall, Diane Keaton, Catherine O’Hara, Val Kilmer, and Robert Redford popped up. But couldn’t they have found room for James Van Der Beek, Eric Dane, Brigittte Bardot, and Robert Carradine? Seriously?
• Speaking of the In Memoriam segment. It was a really nice moment when various stars from Rob Reiner’s films appeared together on stage to honor the late filmmaker. Billy Crystal, Meg Ryan, Kiefer Sutherland, Wil Wheaton, Cary Elwes, Carol Kane, Kevin Pollack, Kathy Bates, and more were included.

• “Frankenstein” didn’t have a shot when it came to the “big” awards even though it deserved it. But it did well in other important categories, winning for Production Design, Costume Design, and Makeup and Hairstyling. It’s a great film and it deserved every win.
• “Avatar: Fire and Ash” deservedly won the Oscar for Best Visual Effects. It’s a visually jaw-dropping film that should have been recognized in even more categories.
• Sadly the Best Cinematography winner was far from the best cinematography of the year. It went to “Sinners” which is a good looking movie. But no film was as brilliantly shot or used its cinematography as powerfully as “Train Dreams”.
• The Oscar for sound went to “F1” which was unquestionably the correct choice. “F1” was an extraordinary cinematic experience and the stunning in-theater sound was a big reason why.
• Best Editing went to “One Battle After Another” which was pretty comical considering the film could have desperately used several more trips to the editing room. But it’s hard to go against the trendy pick.

That’s enough rambling about the 2026 Academy Awards. What did you think of the show and this year’s winners? I’d love to hear your thoughts. Also, “Train Dreams” is streaming on Netflix. Go watch it and see how bad the Academy missed its mark. Till next year!

Guy Ritchie’s latest star-studded action-adventure cocktail is “In the Grey”, a film that has the same energy as the director’s 2024 film “The Ministry of Ungentlemanly Warfare”. At least that’s the impression we get from its first trailer that just released yesterday. It’s a rip-roaring first look that shows off a nice cast, some good laughs, and (of course) plenty of action. There’s still a lot to the story that we don’t yet know. But that’s a good thing.

“In the Grey” is strengthened by a compelling ensemble that includes Jake Gyllenhaal, Henry Cavill, Eiza González, and Rosamund Pike. Gyllenhaal and Cavill play two covert operatives led by their handler (Gonzalez) to steal back billions of dollars from a ruthless tyrant. Of course they’ll have to use all of their skills if they’re going to take on the despot’s “reasonably experienced” private army. This looks right up Ritchie’s alley, and if the movie plays as good as the trailer, we might be in for a treat.

“In the Grey” hits theaters May 15th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Sony Pictures Home Entertainment is bringing “The Patriot” to home video in an exciting new limited edition steelbook. Originally released in 2000, “The Patriot” remains an absorbing and entertaining Revolutionary War epic directed by Roland Emmerich and starring Mel Gibson as conflicted veteran Benjamin Martin. It also features a great turn by a young Heath Ledger, the always dependable Tom Wilkinson, and a deliciously vile villain role for Jason Isaacs. “The Patriot” would go on to be a box office success and eventually earn three Academy Award nominations.

“The Patriot” will be available in this special 4K Ultra HD steelbook edition on June 9th. See below for a full synopsis of the film as well as release information including a list of special features.

About the Film:

Year: 2000

Runtime: 165 Minutes & 175 Minutes

Director: Roland Emmerich

Screenwriters: Robert Rodat

Cast: Mel Gibson, Heath Ledger, Jason Isaacs, Tom Wilkinson, Chris Cooper, Joely Richardson, Rene Auberjonois, Gregory Smith, Trevor Morgan, Bryan Chafin, Mika Boorem, Logan Lerman, Skye McCole Bartusiak, Tcheky Karyo, Lisa Brenner

Rating: R for Strong War Violence

In 1776 South Carolina, widower and legendary war hero Benjamin Martin (Mel Gibson) finds himself thrust into the midst of the American Revolutionary War as he helplessly watches his family torn apart by the savage forces of the British Redcoats. Unable to remain silent, he recruits a band of reluctant volunteers, including his idealistic patriot son, Gabriel (Heath Ledger), to take up arms against the British. Fighting to protect his family’s freedom and his country’s independence, Martin discovers the pain of betrayal, the redemption of revenge and the passion of love.

Special Features:

DISC DETAILS & BONUS MATERIALS4K ULTRA HD DISC 1

• 165-minute Theatrical version of the film presented in 4K resolution with Dolby Vision
• English Dolby Atmos + English 5.1
• Special Features:
  • Director & Producer Commentary
  • The Art of War Featurette
  • The True Patriots Featurette
  • Theatrical Trailer

4K ULTRA HD DISC 2

• 175-minute Unrated version of the film presented in 4K resolution with Dolby Vision
• English Dolby Atmos + English 5.1
• Special Features:
  • 7 Deleted Scenes with Commentary
  • Visual Effects Featurette
  • Conceptual Art to Film Comparisons

It was nice to see the El Dorado Film Festival bring back one of its best short film categories. As its name reveals, the “Southern Made” selections shine the spotlight on a wonderful variety of short films that come seasoned with a uniquely Southern flavor. This year brings another entertaining collection that once again promotes a diverse range of visions.

Here are a few impressions out of the films included in this year’s block...

Written and directed by Cathlin McCullough, “The Oldest” tells a bittersweet story of a young girl forced into adulthood well before her time. Young Kate (played with heartwarming sincerity by Meara Wallace) is the oldest of her tight-knit siblings living in a rural home with their alcoholic father (Kristian Day). As the oldest, Kate steps in to take care of the house and her sisters. But deep down she dreams of a normal kid’s life. McCullough vividly defines Kate’s reality yet for a brief period she’s allowed to escape through a beautifully captured montage that hits like a ton of bricks. Honest, evocative, and deeply impactful.

VERDICT – 4.5/5

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Rob Senska brings his skills as a cinematographer to the director’s chair with his visually driven and quietly powerful “Ashes”. Senska slyly blends genre elements with his own wildly original ideas, all in an effort to tell an affecting yet uplifting story about overcoming childhood trauma. The story is not one you summarize. Instead you experience it – allowing the images to transport you as you pick up carefully placed clues along the way. A mysterious cat, a ravenous werewolf, and one determined young boy (Maximilian Good) all play key parts in this impressive visual fantasy that’s firmly grounded in real-life experience.

VERDICT – 4/5

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“Emma’s Social Battery” is a love letter of its own wacky kind to introverts who just need some alone time to recharge from social fatigue. That’s certainly the case for Emma (Olivia Peck) who has a new job and is afraid her social exhaustion may push away her newly made friends and colleagues. Co-written and co-directed by Jannet Lopez and Carlos Jimenez, the film takes a turn after Emma invites her new friends over for a dinner party. And as Emma’s social battery drains, the interactions only get zanier. Peck clearly has a blast while Lopez and Jimenez surround a resonating message with some proudly silly humor.

VERDICT – 3.5/5

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The sister duo of Marquel Skinner and Blair Skinner team up to make “Bot”, one the funnier and most maddeningly relatable films I saw at this year’s El Dorado Film Festival. Blair directs while Marquel writes and stars in this swift yet pointed short about a woman who begins to question her humanity after getting stuck in an endless parade of CAPTCHA tests while trying to order concert tickets online. Blair’s crisp and fluid direction propels the story while Marquel’s hysterical script is only matched by her quick-witted performance. Keep your eye out for this one.

VERDICT – 4/5

A true highlight from Day 3 of the 2025 El Dorado Film Festival was Short Film Block #2, yet another curated collection of shorts created by inspired filmmakers from near and far. Block #2 featured an exceptional group of short films that explored a wide range of themes through various interesting genres. It was the strongest top-to-bottom block of the festival.

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

Director Sam Henderson’s astonishing “Ado” is an intensely affecting short film that uses incredibly heavy subject matter to speak to the infinite value of school teachers. As a husband to a teacher of nearly thirty years, Henderson’s film is profoundly effective and necessary. He and his co-writer Ryan Romine tell a sobering story about a middle school drama teacher named Mrs. Hopkins (Jenifer Lewis) who has her class interrupted in the most unimaginable way. It’s equal parts moving and terrifying with Henderson handling his material with seriousness and sensitivity. And while his direction is superb, the film wouldn’t be what it is without the sensational central performance from Lewis. She will leave you speechless.

VERDICT – 4.5 STARS

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The straightforward title “Em and Selma Go Griffin Hunting” pretty much sums up the story nicely. Yet to no surprise, there is a lot more going on under the surface of writer-director Alex Thompson’s thematically rich and visually captivating experience. The story is set in the 1930s but has a dark fantasy element that Thompson shrewdly uses to press his film’s deep-running themes. Selma (Pollyanna McIntosh) accompanies her daughter Em (Milly Shapiro) on a hunt to kill a dangerous griffin as part of some warped rite of passage. But Em’s reluctance puts her at odds with her mother and in danger of incurring the creature’s wrath. The film is shot in stunning black-and-white and features spectacular visual effects, all of which Thompson skillfully uses to amplify his film’s overall meaning.

VERDICT – 4.5/5

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In 1893 Cornwall, a fisherman’s wife named Betty (Beatie Edney) shocks the medical world by being the first person to cure someone of Consumption (aka Tuberculosis). A determined doctor and relative Gregory (Ali Cook, who also writes and directs) is sent to her village to investigate and potentially disprove the claims. But rather than receiving a logical medical explanation, Gregory is told a fantastical tale from Betty that’s too preposterous for him to believe. That’s a general introduction to “The Pearl Comb”, a brilliantly conceived and crafted short film that surprises at every turn. The film is strengthened by top-to-bottom stellar performances, not to mention terrific costume and production design. But it’s Cook’s audacious vision that makes “The Pearl Comb” an engaging and immersive delight.

VERDICT – 4.5/5

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Pulling inspiration in Ivan Turgenev’s 1850 Russian short story, director Sam Davis finds hope, humanity, and communion in his warm-hearted Oscar-nominated short film “The Singers”. It’s set late at night in a remote dive bar where a number of blue-collar, world-weary men bare their souls to fellow drinkers. The film features a small yet colorful batch of characters including a broke construction worker who continues to hound the other patrons for some beer money. Tired of his begging, the bartender offers him $100 and a beer if he can out-sing an elderly regular. Before long nearly everyone joins in which takes the film in a whole new smile-inducing direction. “The Singers” is currently streaming on Netflix and it shouldn’t be missed.

VERDICT – 4.5/5

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