People are voting emotionally.

just watch it!

Good concept, poorly executed.

Awesome Movie

Edmund (Rupert Davies) and Dorothy (Sheila Keith) have been released from a mental institution, their home for 18 years. They are cured from killing and eating people...almost. The oldest daughter Jackie (Deborah Fairfax ) cares for her 15 year old half-sister Debbie (Kim Butcher) who is a bit wild like her mother. Jackie tells Debbie their parents are dead, while she sneaks out at night to visit them with an offering from the butcher store.The film was on the slow side. The gore factor is minimal. Some blood splatter and an occasional red meat special effect. I was bored for most of the film.Parental Guide: No f-bombs, sex, or nudity. Fair DVD transfer.

In 1957 a couple are found guilty of murder are saved from the hangman's noose by reason of insanity . 15 years later they are released but have their homicidal impulsions been cured ? This is something of a cult British horror movie but I'm not entirely sure why this might be , You can see what the producers are trying to do and that is to make a horror movie that is both realistic and credible and they do succeed to a degree though it's noticeable they wouldn't have been found guilty of murder if they were insane due to diminished responsibility . It then feels like the producers have realised that it's a little bit too realistic and credible and gone and reshot some scenes and stuck them in to the finished print . This leads to a disjointed feel especially where pacing is concerned . Has anyone seen the promotional poster with the face that looks like a demonic Shaun Murphy ? We scene a scene featuring that ghastly apparition but before that scene plays out you'll be able to second guess that it's a dream sequence . The film also suffers from having totally unsympathetic characters with the exception of Jackie and even then the character only holds interest due to the breath taking beauty of Deborah Fairfax . The ending is very abrupt and resembles a rant from the Daily Mail whose readers will probably view this as a fly on the wall documentary about modern day Britain . That's what happens when you stop hanging criminals

By the 70s, British horror audiences were growing tired of creaky old Gothic horror—bad news for Hammer, whose stock-in-trade was vampires and man-made monsters, but good news for Pete Walker, whose more exploitative brand of horror featured homicidal maniacs that more than satisfied the viewers' blood-lust.Frightmare (1974) is one such film, a demented tale of a crazy married couple, Edmund and Dorothy Yates (Rupert Davies and Sheila Keith), committed to an asylum for murder and cannibalism, but released fifteen years later, supposedly rehabilitated. Of course, doctors are known to get things wrong from time to time, and dotty Dorothy turns out to be not quite as sane as she had led people to believe.Dorothy's stepdaughter Jackie (Deborah Fairfax) is convinced that she has matters under control, feeding her stepmother brains bought from a butcher's shop, but she hasn't counted on the involvement of her delinquent 15-year-old half-sister Debbie (the aptly named Kim Butcher), who turns out to be a chop off the old block.With a drilling, a pitch-forking, a hot poker impalement, and a dead guy with an eye missing from the socket, Frightmare certainly delivers gruesome entertainment by the bucket-load, yet also features stylish direction and some winning performances, particularly from Keith who is genuinely frightening as nutso Dorothy, and jail-bait Butcher, who is equally as scary but also adds a little titillation by prancing around the kitchen in her scanties 7.5 out of 10, rounded up to 8 for IMDb.

This is a superbly savage and utterly bleak study of generational insanity and the fatuousness of the medicine that seeks to heal it. The world of this movie is realised with such economy and concision (no pointless repetition or endless discovery process) and the settings are so exactly right, from the funky flat to the farmhouse, yet not located in any particular area.Two characters stand out - Debbie, the younger daughter, and the father. The way in which the performance of the former veered from little girl to pseudo-grown up to almost a woman, primarily through voice and accent alone, was compelling and convincing, as she shifts from tough little vixen to teenage sexpot to needy child. But central to this movie is the father and his enigmatic, ambivalent persona. Evil (or madness) is actually much less interesting than complicity and greyer shades of guilt.So the gore is primitively rendered, the support acting lame and the cars a bit sad. This is ten times as smart and politically informed as Hostel or its ilk. And it lingers long in the memory, not for the blood splatter, but with Why? questions.