The Films of 2024: Gary (dir by Robin Dashwood)


Wow, what a depressing documentary!

I’m taking about Gary, which is currently streaming on Peacock.  Gary tells the story of former child actor-turned-security guard Gary Coleman, who went from being one of the top stars in television to eventually struggling to pay the bills.  The documentary tells the story of Coleman’s life, from his start as a cute kid with a mischievous smile to his stardom, his health struggles, and the controversy over why all the money that he made as a child eventually disappeared.  Gary blamed his parents.  His parents blamed Gary’s managers.  The woman who eventually married Gary blamed everyone.  Gary, himself, ended up as tabloid fodder, in which he was treated as not only being the poster child for the problems that young stars encounter but in which he was also regularly ridiculed for having those exact same problems.  Watching the documentary, one gets the feeling that the world took an odd joy in Gary Coleman’s downfall.  Coleman himself died under mysterious circumstances and the documentary, though even-handed, leaves one feeling that there’s definitely a lot about his death that could stand to be examined.

Gary Coleman’s stardom was a bit before my time, though I have seen a few episodes of Diff’rent Strokes online.  The show, to be honest, always seems a bit cringey to me but, still, it’s obvious that Coleman was a capable actor even when he was having to repeat the catch phrases that he came to hate.  Unfortunately, his kidney problem stunted his growth and, as he got older, the acting opportunities dried up.  He was reduced to parodying his former stardom, appearing on talk shows and sitcoms and repeating, “What you talkin’ about” to anyone who asked.  The documentary was painfully sad to watch.  Gary Coleman definitely comes across as being a bit of an eccentric but it’s hard not to feel that he never allowed to grow up and that the people who should have been looking out for him, like his parents and his manager and his wife, were only looking out for themselves.

The film features interviews with the people who failed Coleman.  None of them really take any sort of responsibility for their actions.  At first, his wife comes across like she really cared about him but, as the documentary progresses, we hear too many stories about her abusing and manipulating him to take anything she says at face value.  When she sells a picture of Coleman on his death bed to a tabloid, that’s pretty much last straw as far as any sympathy for her is concerned.  Coleman’s business manager also initially comes across as being genuine and sincere but, again, there are just too many stories of misusing Coleman’s money.  If he doesn’t seem to be as ruthlessly mercenary as Coleman’s wife, it’s still obvious that he shouldn’t have been managing Coleman’s career.  As for Coleman’s parents, the less said about them the better.  Everyone that is interviewed is very good at blaming someone else for what happened after Coleman’s stardom ended.

Again, this was depressing documentary.  Watching this, I really felt bad about Gary Coleman.  It’s hard to know what to do about child stars.  On the one hand, there are child stars who grow up to lead what appear to be perfectly normal and stable lives.  But, there’s also a lot like Gary Coleman, whose lives are pretty much destroyed by their early success.  No kid should be supporting their family.  And no family should be paying their bills exclusively with their kid’s salary.  To me, it all comes down to the parents.  You can’t depend on an industry to raise your child for you.  In the end, though, Coleman was let down by a lot of people.  There’s more than enough blame to go around.

Bonus Horror Scene Of The Day: The End Of 10 To Midnight


The scene below is a major spoiler for the film 10 to Midnight so don’t watch if you haven’t seen the film yet.  And, to be honest, you probably shouldn’t even read the rest of this post, as the post itself is probably a spoiler as well.  There’s no way to truly talk about this film without talking about the ending.  10 to Midnight is a film that’s been on my mind a lot this year, largely because Charles Bronson plays a character who reminds me of my Dad.  Bronson’s relationship with his daughter (played by Lisa Eilbacher) also reminds me of my own relationship with my Dad.  I doubt there’s many people who get sentimental over a relatively unheralded vigilante horror film from 1983 but, as I’m still processing losing my Dad earlier this year, I am one of those people.

If you have seen the film, you know that this is one of the best endings that Charles Bronson ever filmed.  Indeed, in today’s chaotic world, there’s some very satisfying about both Bronson’s final line and his no-nonsense style of dealing with problems.  And indeed, with all the bad vibes that seem to have been unleashed on the world over the past few years, this scene feels like an exorcism of sorts.

Serial killer Warren Stacy (Gene Davis) thought he could game the system.  He thought he had everything figured out.  He smugly assumed no one could stop his reign of terror.

Well, Bronson disagrees.

And with that one wonderful final line, Charles Bronson brings this year’s Horrorthon to a close.

Lisa Marie’s Early Oscar Predictions For October


It’s that time of the month again!

While the rest of us were watching horror movies, the Oscar race was finally starting to take shape.  It’s a race that still doesn’t have any frontrunners but which does now have some definite contenders.

Be sure to check out my predictions for April, May, June, July, August, and September!

Best Picture

Anora

Blitz

The Brutalist

Conclave

Dune Part II

Emilia Perez

Gladiator II

The Piano Lesson

Saturday Night

September 5

Best Director

Jacques Audiard for Emilia Perez

Sean Baker for Anora

Edward Berger for Conclave

Brady Corbett for The Brutalist

Ridley Scott for Gladiator II

Best Actor

Adrien Brody in The Brutalist

Timothee Chalamet in A Complete Unknown

Daniel Craig in Queer

Colman Domingo in Sing Sing

Ralph Fiennes in Conclave

Best Actress

Pamela Anderson in The Showgirl

Karla Sofia Gascon in Emila Perez

Angelina Jolie in Maria

Mickey Madison in Anora

Demi Moore in The Substance

Best Supporting Actor

Yura Borslav in Anora

Kieran Culkin in A Real Pain

Samuel L. Jackson in The Piano Lesson

Guy Pearce in The Brutalist

Denzel Washington in Gladiator II

Best Supporting Actress

Danielle Deadwyler in The Piano Lesson

Selena Gomez in Emilia Perez

Saoirse Ronan in Blitz

Isabella Rossellini in Conclave

Zoe Saldana in Emilia Perez

Horror on the Lens: Night of the Living Dead (dir by George Romero)


Happy Halloween everyone!

Well, as another horrorthon draws to a close, it’s time for another Shattered Lens tradition!  Every Halloween, we share one of the greatest and most iconic horror films ever made.  For your Halloween enjoyment, here is George Romero’s Night of the Living Dead!

(Be sure to read Arleigh’s equally famous review!)

October Positivity: Chloe’s Mountain (dir by Wesley Bristol)


In 2021’s Chloe’s Mountain, teenaged orphan Chloe (Kenzie Mae) moves to her grandmother’s farm.

Grandma  (Donna Bristol) has white hair. Chloe has blue hair.

Chloe is an aspiring singer who like her music loud.  Grandma hasn’t listened to anything since Glenn Miller died.

Grandma is big into church.  Chloe is not.

Chloe smokes weed with her friends.  Grandma really likes her neighbor’s biscuits.

Chloe and Grandma don’t have much in common and, at first, Chloe doesn’t want anything to do with her grandmother.  But Grandma wins Chloe over through the power of her unconditional love.  But then, on Chloe’s 18th birthday no less, Grandma dies.  Chloe is heartbroken.  Grandma leaves Chloe her house, her farm, and all of her money.  If Chloe goes to a Christian university and graduates in four years, she’ll get the house when she’s 22.  If she doesn’t go to a Christian university or if she fails to graduate, she’ll have to wait until she’s 35 to collect her inheritance.

Knowing that this was a faith-based film, I was not surprised when Chloe agreed to go to the Christian university.  In many ways, the movie feels like a commercial for going to a Christian college.  Sure, the movie says, the rules are a little bit goofy and you have to spend a lot of time memorizing hundreds of bible verses but you will eventually get a good education …, maybe.  And yes, you’re roommate will probably really be into stuffed animals and the color pink but why can’t you just shut up and conform?

That said, the movie lost me as soon as it explained all the college’s rules.  Chloe learns that she can earn demerits for breaking the college’s rules and, if she ends up with too many, she can be expelled.  Talking too loudly?  That’s a demerit.  Late for class?  Demerit.  Loud music?  Demerit.  Public displays of affection?  Huge demerit right there.  Wearing revealing clothing?  Demerit.

Uhmm …. okay, isn’t Chloe 18 years old?  Aren’t universities supposed to give young adults an education so they can go out into the real world?  Chloe’s an adult. The viewer may or may not feel that Chloe always acts like an adult but, the fact of the matter, 18 year-olds are considered to be adults.  Telling an adult what she can or cannot wear, especially when she’s the one paying to attend your school, is beyond insulting.  “You wore a belly shirt,” the Dean says at one point while looking over Chloe’s demerits.  And?  I mean, a lot of people do.  I’ve certainly worn my share over the years.  You’re going to kick someone out of college because they wore a slightly revealing piece of clothing?  Seriously, Chloe, get out of there!  Drop out and go to a real school.  Grandma’s farm wasn’t really that nice to begin with.

Anyway, as for the rest of the film, Chloe does eventually make a friend, Nechelle (Shalayne Janelle).  Nechelle helps to change Chloe’s cynical outlook.  It’s a standard low budget, faith-based movie, full of jokes that fall flat and performers who give amateurish performances.  I thought Kenzie Mae actually gave a pretty likable performance as Chloe but she’s sabotaged by filmmakers who have no idea how to tell a story visually or how to make one scene flow into the next.  By the end of the movie, I felt as if I had been watching for four years.  Still, I stuck with the film and I didn’t quit, no matter how much I was tempted to do so.  So, seriously, where’s my farm?

Bonus Horror on TV: The Night America Trembled (dir by Tom Donovan)


Filmed in 1957 for a television program called Westinghouse Studio One, The Night America Trembled is a dramatization of the night that Orson Welles terrified America with his radio adaptation of War of The Worlds.  

For legal reasons, Orson Welles is not portrayed nor is his name mentioned.  Instead, the focus is mostly on the people listening to the broadcast and getting the wrong idea.  That may sound like a comedy but The Night America Trembled takes itself fairly seriously.  Even pompous old Edward R. Murrow shows up to narrate the film, in between taking drags off a cigarette.

Clocking in at a brisk 60 minutes, The Night America Trembled is an interesting recreation of that October 30th.  Among the people panicking: a group of people in a bar who, before hearing the broadcast, were debating whether or not Hitler was as crazy as people said he was, a babysitter who goes absolutely crazy with fear, and a group of poker-playing college students.  If, like me, you’re a frequent viewer of TCM, you may recognize some of the faces in the large cast: Ed Asner, James Coburn, John Astin, Warren Oates, and Warren Beatty all make early appearances.

It’s an interesting little historical document and you can watch it below!

A Bonus Horrorthon Blast From The Past: The Tell Tale Heart (dir by Ted Parmlee)



This short, animated film is from 1953 and it features James Mason reading a story from America’s first master of suspense, Edgar Allan Poe!

Here, for your listening and visual enjoyment, is The Tell Tale Heart!  Along with featuring the voice of James Mason, the film was directed by Ted Parmlee.  It was the first animated film to ever be given an X rating by the British Film Board of Censors.

A Bonus Horrorthon Blast From The Past: Vincent (dir by Tim Burton)


Vincent Price was born, at the start of the 20th Century, in St. Louis, Missouri.  When he first began his film career in the 1930s, he was promoted as a leading man and he was even tested for the role of Ashley Wilkes in Gone With The Wind.  (Imagine that!)  However, Price would find his greatest fame as a horror icon. 

Among the fans of Price’s horror films was a young animator named Tim Burton.  In 1982, Price and Burton would work together for the first time, with Price providing the narration for a short, stop motion film that Burton had written and directed.  Called Vincent, the film was about a seven year-old boy named Vincent who wanted to be — can you guess? — Vincent Price!  The six-minute film follows Vincent as he gets involved in all sorts of macabre activities.  Of course, as Vincent’s mom points out, Vincent isn’t actually a monster or mad scientist.  He’s just a creative child with an overactive imagination.  (To say the short feels autobiographical on Burton’s part would be an understatement.)  The animation is outstanding and full of wit but it really is Vincent Price’s wonderful narration that makes this short film a classic.

Both Price and Burton would later call making this film one of the most creatively rewarding collaborations of their respective careers.

On Halloween Eve, enjoy Vincent!

Horror on the Lens: How To Make A Monster (dir by Herbert L. Strock)


You’ve seen I Was A Teenage Werewolf….

You’ve watched I Was A Teenage Frankenstein….

Now, it’s time to watch How To Make A Monster!

Released in 1958, How To Make A Monster is a clever little horror satire from American International Pictures in which the stars of Teenage Werewolf and Teenage Frankenstein are hypnotized into believing that they actually are the monsters that they played!  The main culprit is a movie makeup artist (Robert H. Harris) who has been deemed obsolete by the new bosses at AIP.

Be sure to watch for the finale, which features cameo appearances from several other AIP monsters!  And read my full review of the film by clicking here!

October Positivity: Break Every Chain (dir by Tim Searfoss)


The 2021 film, Break Every Chain, tells the story of a cop with a problem.

Struggling with the memories of his own troubled childhood and also with the responsibilities of having a family of his own, Jonathan Hickory (Ignacyo Matynia) throws himself into his work as a member of the police force.  He’s considered to be a good cop, one who is given important assignment and who can be trusted not to abuse his authority.  At one point, when it appears that a drunk man is pointing a rifle at him, Jonathan is smart to realize that opening fire on the man is not the way to deal with him.  Jonathan, in many ways, seems like a throwback to the days before the American police force became the militarized behemoth that it is today.

Jonathan is promoted to riding a motorcycle and it must be said that the motorcycle that he receives is pretty badass.  Jonathan investigates accidents.  He gives speeches about the important of not driving drunk.  To the world, he’s the ideal cop.  But, secretly, Jonathan is falling apart.  Haunted by the things that he’s seen as a member of law enforcement, Jonathan has turned to drinking and has been neglecting his family.  Soon, Jonathan is full-blown alcoholic and it’s only a matter of time before his drinking catches up to him.

Break Every Chain is a pretty simple film but it’s effective.  Matynia gives a good performance as Jonathan and the film doesn’t try to force some sort of cure-all solution on the audience.  Jonathan does get help for his problems and he does turn to his church for support.  And, yes, it’s not all surprising when it turns out that Jonathan’s pastor is played by Dean Cain.  However, the film itself is not particularly preachy, at least not by the standards of most faith-based films.  It suggests that, for Jonathan, devoting himself to religion gives him another way to deal with life that doesn’t involve getting drunk and neglecting his family.  The movie isn’t incorrect about that.  Regardless of whether one agrees with Jonathan’s religious beliefs or not, he is correct to believe that the human mind needs something else to obsess on beyond its addictions.

I should admit that films about addiction, especially alcoholism, always tend to effect me more than other social problem films.  My family tree has its share of drinkers, some of whom could handle their alcohol better than other.  I know firsthand the trauma that can come from seeing a family member struggle with their addictions. One reason why I don’t drink is because I know that I have certain compulsive tendencies.  I tend to channel those tendencies into watching and writing about movies and, of course, making lists.  The way some people are about having that glass of wine before bed, that’s the way I am about making sure that my To-Do List for the following day has been written out and it’s ready to go.  Some people are addicted to drugs.  Some people are addicted to booze.  I’m addicted to making out lengthy To-Do Lists.  That said, there’s no greater feeling than crossing something off of your To Do List.  For instance, I just crossed reviewing this film off of my list and now, I’m feeling great!