Drama
Run Niño Run
Directed by Lance Revoir
Warning – This review contains spoilers.
Run Niño Run is a heartfelt exploration of a father’s struggle to reconnect with his son after the death of his wife. The film centers on Jack, a distant and grizzled father, who must find his runaway son, Emilio, after the boy takes off with the ashes of his late mother. The story builds on themes of family, redemption, and the need for communication in healing broken relationships. I was drawn into the emotional depth of their journey.
The emotional arc of the story is easy to relate to, especially as Jack and Emilio are both navigating their grief in different ways. Jack wants to take Emilio out of the town he believes will lead him into trouble, while Emilio yearns to fulfill his mother’s last wish and stay close to his roots. Their conflict reaches a climax when Emilio runs off with his mother’s ashes, forcing Jack to confront not only his son but also his own failures as a father. Despite the compelling premise, the film relies heavily on expository dialogue rather than showing us the depth of their relationship through actions. While the father speaks of danger and the son’s love for cooking, we don’t see enough of these elements visualized, which would have made their motivations feel more grounded. The story is touching, but it doesn’t introduce anything new to the genre of family reconciliation.
Director Lance Revoir’s personal connection to the story shines through in the film’s dedication to themes of parenthood, redemption, and mixed-race family dynamics. His passion for the project is evident, particularly in the way bilingualism is woven into the narrative.
Focusing strictly on the technical, Run Niño Run had both strengths and weaknesses. The natural lighting worked well for the outdoor scenes, giving the film an authentic, grounded feel, but at times the highlights were overexposed, especially in brighter scenes. The decision to transition from black-and-white to color during the flashbacks added an emotional layer, effectively representing the distance between Jack and Emilio. However the editing felt disjointed at times, especially in the final scene where the emotional weight of the reconciliation between father and son could have been stronger. The film also relied too much on dialogue, missing opportunities to let the visuals speak for themselves.
The cinematography beautifully captures the expansive natural landscapes, but I found that this sometimes clashed with the film’s tone. The film speaks of danger and urgency, yet the serene, picturesque settings didn’t align with the father’s concern for his son’s safety. However the musical score was on point. The lyrical guitar soundtrack imbued scenes with just the right amount of sadness and introspection, amplifying the emotional undertones of the story.
The performances by Dick Schaefer as Jack and Zeka Nichols as Emilio were solid, though at times their delivery felt stiff, and the dialogue sounded rehearsed rather than fully lived-in. The emotional connection between the characters came through, but there were moments where I wished for more subtlety and depth in their performances, particularly during the pivotal final moments of reconciliation.
Overall, Run Niño Run tells a relatable and touching story about a father and son trying to heal from loss, but its execution falls a bit short in delivering the emotional weight it promises. The film’s technical elements elevate certain aspects of the story, particularly through its use of music and natural lighting, but it could have benefited from a more cohesive blend of dialogue and visuals. Ultimately the core themes of family, reconciliation, and redemption will likely resonate with audiences who enjoy family dramas.
Run Niño Run offers an earnest look at the complexities of father-son relationships and the process of healing from grief. While the film doesn’t break new ground, its personal touch and strong musical score lend it authenticity, making it a touching watch for those who enjoy family dramas. The themes of reconciliation and redemption are universal so Run Niño Run leaves a lasting impression.
Drama
The Witch of Endor
Directed by Derek Hutchins
Warning – This review may contain spoilers.
The Witch of Endor, directed by Derek Hutchins, adapts the biblical story of King Saul (Dave Martinez) as he seeks out the Witch of Endor (Ehlana Bo) in a desperate attempt to summon the spirit of the Prophet Samuel (Devin Tanner). Saul is shunned by God and in his final act of desperation he turns to the supernatural for guidance on how to save his kingdom. This short film does a great job of capturing the dark, mystical atmosphere surrounding the story as it navigates themes of power, fear, and spiritual conflict.
Martinez’s portrayal of King Saul is solid capturing a man who is on the verge of losing everything and frantically grasping at anything that might save him. Ehlana Bo brings a haunting presence to the film although her introduction from a distance takes away some of the immediate tension. While the story is grounded in biblical context the performances particularly during the scenes of Saul’s desperation and his violent confrontation with the Witch, convey the emotional weight of the story even for those unfamiliar with the original biblical narrative.
That said the film does feel like a piece of a larger story. The characters have potential for deeper exploration but their development feels somewhat limited by the runtime. There are missed opportunities to delve into Saul’s deteriorating mental state or to build more tension in the scenes between the Witch and Saul. For example, close-ups during their confrontation would have added intensity and given more depth to their interactions. Additionally, the story relies heavily on exposition delivered through opening text, which lessens the impact of the characters’ dialogue and the weight of their choices.
Visually the film is striking, making great use of lighting especially considering the nighttime setting and reliance on torch and firelight. The compositions are well thought out and the choice to have much of the action play out in low light contributes to the eerie mood. However there are some shots that feel slightly out of focus which can be a bit distracting in moments of high tension. Despite this the sound design and editing do a good job of immersing the audience in this mystical world. The melancholic score and the crackling sounds of the fire help to create a sense of foreboding as Saul’s fate becomes increasingly grim.
Overall, The Witch of Endor is a visually strong adaptation of a biblical tale though its short runtime limits the depth and emotional connection the story could achieve. The performances, especially by Martinez as Saul, are engaging and the film’s style is effective in setting the stage for a mystical and ominous narrative.
The Witch of Endor is a solid short film that showcases an intriguing moment from the Bible but it misses some opportunities to fully flesh out its characters and build a more intense emotional connection. The cinematography, sound design, and performances do much to bring the story to life. Fans of biblical adaptations or mystical narratives will likely appreciate the atmosphere and tension of the film.
Drama
Wildcat
Directed by Laurie Powers Going
Warning – This review may contain spoilers.
Wildcat tells the story of Clara (Brenda Hattingh Peatross) a determined mother searching for answers after her husband, Sam (Johnny Chops), and daughter, Dottie (Elle Graper), mysteriously disappear. Set in early 1900s Texas during the oil boom, the film weaves themes of desperation, isolation, and the supernatural as Clara stalks the crew Sam worked with, believing them responsible for her family’s disappearance. The narrative takes a darker turn when Dottie suddenly reappears, but with something unsettling about her. Throughout a long, tension-filled night, Clara and Otis, the oil well owner (Adam Kitchen) come face to face, while a malevolent force toys with them.
The film effectively builds suspense and I found Clara’s desperation to be compelling as Peatross delivers a strong performance that carries the weight of her character’s emotional turmoil. Her portrayal of a mother driven by grief and anger anchors the film’s tension. However, the story leaves some critical gaps. There’s no clear explanation about how long Sam and Dottie have been missing or what circumstances led to their disappearance, which makes it harder to connect deeply with Clara’s quest. Dottie’s ghostly return, while eerie, lacks the necessary backstory to make her presence feel fully justified within the narrative, which diminishes the emotional impact of the film’s conclusion.
The sound design creates a tense atmosphere especially with the ominous noises that heighten the sense of dread. However, the song choice at the very end doesn’t fit with the rest of the film’s tone. The cinematography misses the opportunity to fully showcase the vast, desolate plains of Texas, which could have deepened the themes of isolation and loneliness. While the editing was uneven in sustaining the horror aspects, there are standout moments, particularly the scene where Otis throws a knife at Dottie’s ghost, a sequence that is both chilling and well-executed.
The performances were solid with Brenda Hattingh Peatross bringing a strong sense of intensity to Clara, and Adam Kitchen’s portrayal of Otis offering a grounded counterbalance to her increasingly frantic behavior. Johnny Chops brings a subtle but important layer to Sam’s backstory through flashbacks, while Elle Graper as Dottie brings an eerie, unsettling presence to her ghostly role.
Wildcat struggles to fully connect due to its lack of clear backstory and character development. The plot feels disjointed at times, and the motivations behind certain supernatural elements remain unclear. The final scene, while visually striking, doesn’t carry the emotional weight it could have if the film had done more to build the relationship between Clara, Sam, and Dottie.
Wildcat explores themes of desperation, grief, and isolation within the framework of a thriller set in the Texas oil boom. While Laurie Powers Going delivers a suspenseful short, and the cast, particularly Brenda Hattingh Peatross and Adam Kitchen, bring strong performances, the film leaves too many questions unanswered. I feel audiences seeking a slow-burn thriller may appreciate the tension. I just wanted more backstory and deeper character connections. Still, its worth a watch!
Drama
Measure of Creation
Directed by Ashton Sterling Bingham
Warning – This review may contain spoilers.
Measure of Creation is a heartfelt short film that allows us to see the world through Lydia’s innocent eyes, where life’s simple moments—like spending time with family or riding her bike—become extraordinary. I couldn’t help but feel the warmth and joy that Lydia experiences as she shares the things that make her happy. It’s an easy film to follow and I found it to be a comforting and heartwarming reminding me of the beauty in everyday life.
The cinematography really stood out to me. The close-ups and the different angles, like the shot from under Lydia’s bike handle, made me feel like I was right there with her, experiencing her excitement firsthand. The lighting was bright and uplifting, adding to the warmth of the film. The editing flowed smoothly, capturing the fun moments Lydia shared with her family, and the sound was clear, making sure Lydia’s voice and emotions were always at the forefront. The score was subtle yet powerful, especially during the moments when Lydia reflects on her late grandfather.
I connected with this film on a personal level, particularly as someone who once experienced childhood in much the same way—finding joy in the routine of everyday life. The way the film captures the love between Lydia and her family was deeply relatable, especially during the tender moments that reflect on the importance of family connections.
This film shines with its strong cinematography and editing. The lighting complements the uplifting and joyous tone, while the sound design ensures Lydia’s story is clearly told. The score adds an extra emotional layer without overwhelming the scenes, keeping the focus on the heartfelt moments.
Measure of Creation is a beautiful reflection on the simple joys of life seen through the eyes of a child. With its stunning visuals, heartwarming narrative, and emotional depth, the film left me feeling both nostalgic and uplifted. I think audiences will easily connect with its charm and authenticity, making it a film that resonates long after the credits roll.
