Tonight, on In Search Of…., Leonard Nimoy guides us through an investigation into ESP! Can you read minds?
After 25 years of being married to a man who seems like a good provider with a stable (albeit sometimes dull) personality, Darcy Anderson (Joan Allen) comes across evidence in their garage that leads her to suspect that her husband (Anthony LaPaglia) might be the serial killer known as Beadie. When he comes home from a business trip, he admits that he is indeed Beadie and suggests that maybe it would be best for everyone if she just moved on from it. He promises not to kill anyone else and she promises not to go to the police. She has something else in mind.
A Good Marriage benefits from an interesting premise, but it suffers from a dull presentation. I think the film’s director was trying to drive home the idea of the Andersons just seeming like an everyday couple by taking a non-flashy approach to the story, but the end result is pretty boring, and Joan Allen and Anthony LaPaglia aren’t convincing as a long-time married couple even before the husband’s hobbies are revealed. Stephen King wrote the screenplay, adapting his own novella, but King’s dialogue can sometimes sound stiff when people have to actually recite it out loud. After the fourth or tenth awkward, middle class conversation, I was on the verge of begging for something interesting to actually happen. The movie could have jettisoned all of the stuff about the husband’s childhood friend without losing much.
Back when she was still doing movie, Joan Allen cornered the market on frustrated housewife roles and maybe that’s why she only seemed to be going through the motions here. Anthony LaPaglia also seems bored with his character and never make us believe anyone would ignore years of compulsive homicide to stay with him. Only Stephen Lang really makes an impression, playing a detective who feels like a convenient case of dues ex machina. This movie could have used some Langoliers.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing Homicide: Life On The Street, which aired from 1993 to 1999, on NBC! It can be viewed on Peacock.
Finally, it’s time for another Bayliss/Pembleton episode!
Episode 6.9 “Closet Cases”
(Dir by Leslie Libman and Larry Williams, originally aired on January 2nd, 1998)
Finally, we’ve got another Pembleton/Bayliss episode!
Well, don’t get too excited. It’s not perfect. We still have to sit through some scenes of Falsone arguing with his wife and complaining about not having custody of his kids. And the Georgia Rae Mahoney storyline is continuing to drag on. This week, she sends Kellerman a videotaped message in which she explains that there is no tape of Kellerman murdering Luther. She just told Kellerman that to see how he would react. And since Kellerman reacted like a murderer, Georgia has decided that she is going to eventually kill Kellerman. “You won’t see it coming!” she says. Whatever.
As for Bayliss and Pembleton, they investigate the murder of a gay businessmen who was left in dumpster, clad in lingerie. Gay nightclub owner Chris Rawls (Peter Gallagher) helps out with the investigation, introducing Pembleton and Bayliss to the community. What’s interesting about this storyline is that, for once, the roles of Pembleton and Bayliss are reversed. Bayliss is fascinated by Baltimore’s gay community while Pembleton is the one who keeps saying things like, “I don’t need to see two men dancing.” Usually, Pembleton is the open-minded one while Bayliss is the one who is uptight.
In fact, it’s such a role-reversal that it doesn’t always ring true. In the past, Bayliss has been so uncomfortable around any type of non-straight, non-missionary position sex that it feels very out of character for him to suddenly marvel about how how everyone at a gay bar is having a good time. To the show’s credit, Pembleton does mention this. Bayliss replies that he hasn’t been happy for a long time and he’s wondering if maybe he needs to change his outlook. He points out that the murder victim was in a relationship for 12 years. That’s longer than any relationship that Bayliss has ever had.
(This episode opens with Bayliss and Dr. Cox breaking up which — eh. I never bought them as a couple to begin with.)
The murderer turns out to be sociopathic male sex worker, who taunts Bayliss in the Box, saying that he can tell that Bayliss is attracted to him. Bayliss smirks. The suspect offers to confess if Bayliss tells him that he likes his ass. Bayliss slowly repeats the suspect’s words back at him. The suspect confesses. It’s an odd scene. I’m kind of preferred it when the detectives would actually have to put some effort into tricking their suspects into saying the wrong. So far, in season 6, everyone is just confessing.
At the end of the episode, Rawls asks Bayliss to come to a wine testing with him and Bayliss says yes. Pembleton is shocked and tells Bayliss that Chris was asking him on a date. Bayliss says he understands that. He adds, “I’m not gay” before then saying that he finds Chris Rawls to be witty and intelligent.
And here’s the thing. As always, Andre Braugher and Kyle Secor totally sell it. Even though Bayliss’s words and actions seem totally out-of-character after everything we’ve seen over the past five seasons, Kyle Secor makes it work. Bayliss deserves some happiness.
And I deserve some more Bayliss/Pembleton episodes. Seriously, this season has been so Falsone-centric that I was starting to forget just what a great team Andre Baugher and Kyle Secor truly were.
It’s Sunday and it’s October and that means that it’s time for another edition of Lisa Marie’s Favorite Grindhouse trailers! For today, we have six trailers from the early 70s. This was the era when horror started to truly get …. well, horrific!
First off, we have the blood and scream-filled trailer for Dario Argento’s The Bird With The Crystal Plumage. This Italian thriller made quite a splash when it was released in America. Indeed, for many Americans, this was their first exposure to the giallo genre. This would go on to become Argento’s first (and, so far, only) film to be nominated for a Golden Globe. (Read my review here!)
2. House of Dark Shadows (1970)
Speaking of blood and screaming, 1970 also saw the release of House of Dark Shadows. Personally, I think this is one of the best vampire films ever. The trailer is heavy on atmosphere.
3. The Devils (1971)
In 1971, British director Ken Russell scandalized audiences with The Devils, a film so shocking that it was thought it would never be seen in its full form. However, times change….
4. Tombs of the Blind Dead (1972)
Italy was not the only country sending horror films over to the United States. From Spain came the Tombs of the Blind Dead.
5. The Last House on the Left (1972)
Speaking of controversy, Wes Craven made his directorial debut with the infamous The Last House On The Left. The trailer featured one of the greatest and most-repeated horror tag lines of all time.
6. Dracula A.D. 1972 (1972)
Finally, even as horror cinema changed and became more extreme, Hammer Studios continued to tell the long and twisted story of Count Dracula. They brought him into the present age and dropped him in the middle of hippie-infested London. No matter how much the rest of the world changed, Dracula remained Dracula.
What do you think, trailer kittys?

Some movie monsters want to conquer the planet. The creatures in Stephen Herek’s Critters seem perfectly happy eating their way through whatever happens to be standing on it. There is something refreshing about villains with such uncomplicated priorities, especially when they look like the contents of a clogged vacuum cleaner fitted with shark teeth. This is the sort of movie where the appeal is right there in the premise: nasty little aliens descend on rural America, and a perfectly ordinary family has to survive the visit. As an ’80s genre guilty pleasure, it delivers the goods with an appealing lack of pretension.
The story gets moving when a group of carnivorous aliens escapes from an extraterrestrial prison facility and makes its way to Earth. Their arrival puts the Brown family’s Kansas farm directly in the path of a feeding frenzy, while two shape-shifting bounty hunters follow close behind. Unfortunately, these heavily armed visitors are not especially concerned about keeping the peace or leaving buildings intact. Between the hungry fugitives and their destructive pursuers, an otherwise quiet community gets more excitement than it could possibly need. The setup is ridiculous, but Herek understands that explaining it too much would only spoil the fun.
What gives Critters some substance beneath the silliness is its interest in the people whose evening gets ruined. The Browns are not especially complicated characters, but their everyday disagreements and familiar household routines make them feel like a family rather than a collection of future victims. Spending time with them before the attack also gives the farmhouse a sense of normality worth protecting. The monsters are not simply invading a convenient horror-movie location; they are barging into somebody’s home. That modest distinction helps the film generate more audience investment than its toothy little troublemakers might initially suggest.
Scott Grimes makes Brad an easy young hero to root for. He has enough mischievous energy to seem capable of causing problems before the aliens ever arrive, but he never becomes so obnoxious that his survival feels like an obligation. His resourcefulness grows naturally out of that personality, giving the movie a kid protagonist who can participate in the action without seeming completely detached from his surroundings. There is a pleasing wish-fulfillment element to watching an underestimated youngster step up when things go wrong. Grimes sells that without turning Brad into an impossibly polished miniature action star.
Dee Wallace provides another important source of credibility as Brad’s mother, Helen. She brings warmth and urgency to situations that, described out loud, sound almost impossible to play straight. That commitment helps establish the film’s balance: the audience can laugh at the monsters without feeling that the characters are merely participating in a comedy routine. The family’s fear and concern remain sincere even when the surrounding action gets goofy. Critters does not require powerhouse dramatic performances, but it benefits enormously from actors willing to treat an attack by murderous furballs as an actual emergency.
Naturally, the furballs themselves are the main attraction. They look like what would happen if the Tribbles from Star Trek suddenly decided to stop being cute and start being mean and really, really hungry. Their dark hair, glowing eyes, enormous mouths, and projectile quills turn an otherwise cuddly shape into something you would desperately want off your lap. The fun comes from their rotten personalities as much as their physical design. These are greedy, bad-tempered little creatures whose curiosity usually leads directly to destruction. Their appetite drives the action, but their attitude gives it flavor, making them entertaining even when they are doing little more than looking for their next meal.
The practical effects contribute plenty of charm, although they do not always maintain the illusion. Some movements are stiff, and certain shots make the creatures look exactly like the puppets they are. Still, their physical presence gives the mayhem a satisfying texture. They seem to belong in the same messy environment as the furniture, debris, and frightened actors around them. The movie also benefits from not making them too adorable. They can be funny without losing that unpleasant suggestion of something that might bite straight through your hand. Their limitations are visible, but so is the craftsmanship behind their grotesque little faces.
The bounty hunters bring a broader, more cartoonish kind of entertainment. Terrence Mann plays Ug, who adopts the appearance of rock star Johnny Steele, while his partner Lee cycles through human identities played by Ethan Phillips, Jeremy Lawrence, and Don Keith Opper. Mann does most of the pair’s comedic heavy lifting, giving Ug a wonderfully straight-faced intensity that makes his rock-star appearance and excessive firepower even funnier. Their destructive pursuit suggests that Earth’s rescuers might require almost as much cleanup as its invaders. These scenes provide some welcome absurdity, although they also contribute to uneven pacing. Whenever the film moves away from the farmhouse, the pressure surrounding the Browns tends to ease. The hunters are amusing, particularly Mann, but their antics are not always as engaging as the central siege.
The resemblance to Gremlins is difficult to ignore, but Critters works best when it is not treated as a contest. It offers a smaller, scrappier variation on miniature-monster chaos, with a straightforward survival story holding everything together. The scares are limited, the plotting is thin, and the effects occasionally wobble, yet the movie remains likable because it commits to its own ridiculous appeal. There is no need to pretend it is a neglected masterpiece to appreciate its pleasures. Sometimes a decent creature feature only needs an appealing cast, a little suspense, and some ugly space pests making a spectacular nuisance of themselves. Critters understands the assignment.
Previous Guilty Pleasures

If you’ve ever spent any time on the political side of X, formerly known as Twitter, you know that it can be an ugly and hateful place. Writers Nick Cuse and Damon Lindelof have certainly spent some time in that part of Twitter, because they’ve created a story that understands its absurdity and then uses that silliness as the basis for a bloody and funny action thriller. THE HUNT was quite controversial when it was released back in 2020, so I decided to finally check it out for myself.
The story begins with a group of strangers waking up in the middle of nowhere, confused, gagged, and wondering how in the hell they ended up that way. The field they’re in has a large crate that contains a sharply dressed pig, as well as a variety of guns and knives. Once they’ve helped themselves to the weapons, all hell breaks loose, with several of them being immediately killed in brutal ways. We soon learn that they’re being hunted by a group of wealthy elites who are sick and tired of dealing with these conspiracy-spreading, climate-denying deplorables and have decided to do something about them. One thing they didn’t account for was the amazing fighting and survival skills of Crystal May Creasey, played by Betty Gilpin. Before long, Crystal has turned the tables and the hunters have become the hunted.
I’m just going to say it right off, Gilpin is incredible as Crystal. I had not really seen her before, but I’m definitely going to be on the lookout for some of her other work. She plays Crystal with a confident coolness, which makes her reactions to the madness around her that much more effective. Hilary Swank, who plays the leader of the elites, knows her way around a fight scene, and their showdown delivers big time. Think of the fight between Uma Thurman and Vivica A. Fox in KILL BILL, and you’ll get an idea of their fight’s intensity, but this one lasts longer. The cast is sprinkled with some well-known actors like Amy Madigan, Justin Hartley, Macon Blair and Emma Roberts. I’ll just say that this isn’t the kind of film where you want to get too attached to the characters and leave it at that!
Did I mention earlier that THE HUNT is graphically violent? We know we’re in for a bloody ride when a guy’s eyeball is ripped from its socket in the second scene. The film will go on to present a wide array of impalings, blown up bodies, close-range shotgun blasts, long-distance rifle splatters, and many other creative deaths. While the violence is shown in graphic detail, it’s also played with an exaggerated sense of humor that made it easier for me to watch. It’s also presented in a way that matches the tone of the story.
What really sets this movie apart for me, though, is its political satire. I spent quite a bit of time on Twitter during Donald Trump’s first term, and this movie does an outstanding job of painting both sides in the broadest of strokes that are instantly recognizable for those in the know. The deplorables consist of a variety of conspiracy theorists, gun rights absolutists, big game hunters, and rednecks. The conspiracy theorists get it the worst, with something ridiculous to say for every occasion, even though a couple of times they’re revealed to be right! On the other hand, the elites have a hard time carrying on a conversation because they’re always correcting each other’s word usage, and they’re constantly lecturing everyone around them. And for a group of people who are never wrong, the elites make a crucial factual error that threatens to upend their entire plan. I’ll leave all of those details for you to discover, but I like that director Craig Zobel and his writers take aim at the absurdity of the entire online political spectrum, with no one getting a free pass. For me, that’s a big part of what makes THE HUNT so much fun. Beneath all the blood and guts is a recognizable version of the silly social media politics that I watched play out online just a few years ago.
I think those who understand the toxicity of American politics in the time of Donald Trump will get the most out of this film, but I still think it can work as entertainment for those who don’t. The action is energetic, the violence is outrageous, and it has a wonderfully twisted sense of humor. And it has Betty Gilpin, who plays one of the toughest, most badass female characters I’ve seen in a movie in a long time. Hell, she was worth the watch for me!
First released in 1964, The Creeping Terror is the best film ever made about a carpet eating people.
This film is famous for its use of narration. Apparently, the original soundtrack was lost and, after attempting to dub a few scenes, director Vic Savage instead just hired radio news reader Larry Burrell to tell people what was happening in each scene. As well, Savage himself later vanished when the film’s investors came looking for their money. No one is really sure what happened to Vic Savage, though there is some evidence that he subsequently died of liver failure in 1975. I like to think that Vic Savage faked his dead and that he is still alive somewhere, probably in his 90s and drinking pina coladas on a beach.
Some consider this film to be one of the worst ever made. I love it.
I should start things off with a confession. This is actually not the first time that I’ve shared Manos: The Hands of Fate here on the Shattered Lens. I previously shared it during the 2013, 2015, 2020, 2022, and 2024 Horrorthons.
However, Manos proved to be such a popular choice that I simply had to post it again. Manos has a reputation for being one of the worst films ever made. And, honestly, who am I to disagree? (Though disagree, I do.) However, it’s also a film that simply has to be seen.
(As well, I love regional horror and there are a few films as regional as Manos, a film that was filmed in my home state of Texas and directed by a fertilizer salesman.)
By the way, everyone who watches Manos ends up making fun of Torgo, who was played by John Reynolds. What they may not know is that Reynolds committed suicide shortly after filming on Manos wrapped. So, as tempting at it may be to ridicule poor Mr. Reynolds’s performance, save your barbs for Torgo and leave John Reynolds alone.
And be sure to enjoy Manos: The Hands of Fate!