I love this movie so much

ridiculous rating

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

What Pete Walker accomplish in this '70 horror -even exploitation- film is quite impressive. A story about a demented cannibalistic woman and the husband who is madly in love with her sounds a bit crazy on the start, but the way that this story develop itself makes you feel tense and uncomfortable since the very first second of the movie.Walker probe that you don't need a lot of gore, evisceration, profanity or even crude violence to made a good and compelling horror movie. Some can argue that the plot don't grow a lot itself and is only a mere tale about a sick family, but I believe that that was the hole point, because is a ride in how they related with everyone. The directing is crude, simple and effective, the characters are very well established and the actors we're overall putting a good work, but the couple of Sheila Keith and Rupert Davies take the cake for their incredible chemistry and how they grow in their personas more and more through the entire movie.The music, as not as bright at the rest of the movie, is good enough to help the feeling of tension, but suffers a bit with the poor editing of some parts. The effects are obviously low-budget, but effective and even helps the movie to be even more crude.I tell you, and I won't spoil even a little of this movie for you, but you will feel sick and even a little guilty after seeing this British flick. Close to be a masterpiece of the genre. A must for any horror, gore or thriller fan.

One of Pete Walkers' crowning achievements in horror & exploitation (the other being "House of Whipcord"), the unrelentingly sinister "Frightmare" is ultimately a depressing tale of madness crossing generations. It's extremely well acted, particularly by Walkers' favourite actress, the late, great Sheila Keith. A palpable atmosphere hangs over many scenes; this is one film that's certain to creep out some viewers. Of course, like many films, it's always had its detractors. It was excoriated during its release, which only added to its legendary status among some fans of British horror. Even today, there's not much of it that dates. It still has the power to chill.Keith stars as Dorothy Yates, convicted of murder, declared insane and sent to a mental hospital for 15 years. Finally, she and her husband Edmund (Rupert Davies) are released, having convinced authorities that they have regained their sanity. The truth, however, is that nothing has changed. Edmunds' daughter Jackie (Deborah Fairfax) has tried to shield the truth from the now teenaged girl, Debbie (Kim Butcher) that Edmund and Dorothy had together. But things start unravelling when Dorothy's psychoses can no longer be hidden - for one thing, she suffers from "pathological cannibalism" - and young Debbie shows signs of a psychotic nature.Keith has a powerful presence. One can't help but keep their eyes on her in this film, and she's the main reason to watch it. However, that's not to diminish the work by Davies as the loving husband who stands by his wife's side no matter what she does. The gorgeous Fairfax and pretty Butcher lead a strong supporting cast that also includes Paul Greenwood as Graham, Jackie's boyfriend, and special guest stars Leo Genn as Dr. Lytell and Gerald Flood as Matthew Laurence. Peter Jessop's lighting is very good throughout at setting the mood and keeping the viewer on edge. Stanley Myers' music score is likewise full of foreboding and dread. As part of the plot (screenplay by Walkers' frequent collaborator David McGillivray, based on a story idea by Walker) revolves around Dorothy working as a fortune teller, you can't help but get the chills when that death card keeps being selected, and want to scream at any and all potential victims to get the hell out of there.All in all, "Frightmare" is well worth your time if you have an interest in cult horror titles from decades past.Eight out of 10.

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 1974 Pete Walker classic, is a definite trip into the macabre. A woman and her husband are sentenced to around twenty years for cannibalism and murder. And now, they have been released and are living on a farmhouse, and only their oldest daughter knows, at least that's what she thinks. The younger daughter lives with her Sister, but goes her own way on everything, usually ending in trouble. Meanwhile at the farmhouse, Mama is taking out whoever she can and storing them under the straw in the barn, after she uses her nice little drill to tenderize them a little. None of this is bound to be good about all of this, and as the story moves on, the more demented it becomes. Walker creates a world of "no body gets out of this one alive" kind of theme, even though the ending is somewhat of a surprise, and I certainly liked it. No Hollywood endings in a Pete Walker film. Very nice little bloody British horror film for the holidays, and after all these years, it holds up very nicely. Highly recommended, with a good commentary with Walker himself on the DVD.