Solemplex To me, this movie is perfection.

WasAnnon Slow pace in the most part of the movie.

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Jenna Walter The film may be flawed, but its message is not.

Kaliyugaforkix I love eccentric Italian horror. Not much thought to restraint or good taste, or even simple logic, just go-for-the -jugular, style over substance that after countless years of bland Western movies is very endearing. The maestros of these forgotten pics (the talented or really ballsy ones anyway) offered visionary set pieces that really stood out from the original mainstream flicks they imitated. The first Italian director I discovered was Lucio Fulci, stumbling on a fuzzy, out-of-print videotape of GATES OF HELL which I took away to digest (in the children's ward of my local hospital no less...). Having read of the insane moments of the director's oeuvre, I eagerly anticipated the grisly highlights (and for anyone whose seen it, they'll have no doubt I wasn't disappointed by the vomitorium on display).I will always treasure Lucio's Gothic cheese operas as the crimson cream of this crop, but that doesn't rule out the other directors who tried their hand concocting bizarre, gaudy delights. I mean, where else can you find such a cavalier attitude towards the wholesome subjects of multiple child murder, necrophilia and cannibalism? Lamberto Bava, Son of Mario, helms this quirky descent into madness, and it works nicely if somewhat restrained in the excess department. Perhaps that makes it ideal for beginners not wishing to jettison their stomachs over something stronger like GATES and it's brethren. After the double tragedy of the year previous, Jane, divorced mother of now one rents a room in decaying manor owned by a blind handyman. However, all is not as it seems (when is it ever) and before he knows it, the hapless young man is pulled into a perverse family melodrama.The pace of MACABRE is slow and the plot lacks thrust, but as a more free-flowing attempt at establishing a certain mood instead of a tightly plotted cliff hanger, it mostly works. The lack of goings-on makes it that much more impactive when something nasty does rear its ugly head. In fact, its pretty easy to see how this could've started out as an elaborate sick joke.The opening 10 minutes have an eerie mundane-ness like the calm before a storm. It's somewhat overlong at an hour an a half and some tighter editing could have reduced the padding. There seems to be an awful lot of the characters simply plodding along with their daily routines. Plus the dubbing is eye-gougingly irritating, sadly par for course for a lot of these foreign efforts. Noticeable as well is the setting of New Orleans, which American or not, still feels like Italian soil. Not quite a bad thing, it's interesting to see how a director interprets an alien land. The movie relies too heavily on its surprise ending and I could see that definitely diminishing the enjoyment upon repeat viewings, but overall Bava's debut is a respectable, little grand-guignol flick in the tradition of his legendary daddy, barring the out-of-left-field shock ending which, in light of the very worldly conflict of the preceding 90 minutes, lacks any real bite.

ma-cortes The events happen in New Orlans where a middle-aged woman named Jane Baker(Bernice Stegers)is traumatized by a car crash in which died his adulterous lover Fred Kellerman(Robert Posse) and she's interned into a mental hospital. Years later she moves at New Orleans boarding house whose proprietary is a blind young named Robert Duval(Stanko Molnar). The situation comes towards an incredible final, genuinely highlights plenty of horror, terror, quirky sex and macabre happening which arise some memorably horrific set-pieces.The film is reportedly based on real deeds.This macabre final packs tension, mystery,chills, thrills and scabrous scenes on its ending part.Gloomy and sinister plot with final'tour of force' is written by Pupi Avati, also terror movies director .First feature picture by Lamberto Bava is surprisingly made and startling visual content of his shockers. His camera stalks in sinister style throughout the Jane's room, Robert's room, up-stars and down-stars . Strikingly shot for the most part in a traditional mansion from New Orleans and are also well photographed streets, slums, wheel-ship and cemetery of the city . Very atmospheric color with shades of ochre and deep translucently orange-red by Franco Delli Colli , cameraman of ¨Last man on Earth, and Django kill¨. Compelling direction by Lamberto Bava, a terror films expert, such as he proved in ¨Demons 1, 2, A blade in the dark, Shark: red on the ocean¨, though today he only directs television movies : ¨Fantaghiro and following, Caribbean pirates¨ among others. Acceptable and passable atmospheric film-making from genre master Bava's son. A must see for horror fans

Tim Hayes Macabre a.k.a. Frozen Terror is the debut feature from Lamberto Bava, the son of famed horror director Mario Bava. Fans may recognize the name from his later collaborations with Dario Argento, Demons and Demons 2. Unlike those two films, which relish in their over the top grue and violence at hyper kinetic speed, Macabre is a slow build film that tends to lean more towards the slow build school of creating suspense. The story is simple and actually based around a true story from New Orleans in the 70s. A woman is in a car accident with her adulterous lover and the lover is decapitated. One year later, the woman is released from the mental asylum and returns to the apartment where her and her lover would rendezvous. Not a lot happens until the final third of the film, but it goes by quick enough and there is the air of dread that Bava creates quite effectively. When the reveal is made, its not much of a shock but the film is handled well enough that that fact can be overlooked. What truly brings the film down however, is some horrid dialogue and some equally atrocious acting by the young girl who plays the woman's daughter. All in all, considering the subject of the film, it is a quite restrained effort and a notable debut.

Jonny_Numb You gotta admit, the idea is ingeniously twisted in its simplicity...Jane (Bernice Stegers), an adulterous New Orleans housewife, is involved in a car crash that decapitates her lover. One year later, she is discharged from a mental hospital and returns to her lover's former residence, where she is lusted after by blind caretaker Robert (Stanko Molnar) and plagued by visits from her Greyhound-faced daughter Lucy (Veronica Zinny).Questions arise: What is the explanation for those lustful, lovemaking noises coming from the upstairs apartment? Why is Jane so protective of her freezer? Will Robert ever get a chance to tap that action? Will Lucy ever shut the f*ck up? With strong location shooting in New Orleans and an accompanying jazzy score, you can practically feel the sweltering menace in the air.True to its title, "Macabre" is generally restrained in tone, instead opting to create a very effective mood of overall bizarro. At its best, it has the feel of a polished anthology entry (such material would be right at home on "The Twilight Zone" or even "Masters of Horror"); at its worst, it feels overlong and silly. The third-act twist, while pretty predictable, works because the cast is so ravenously committed to the material. As a result, "Macabre" is a finely polished debut from Lamberto Bava (son of Mario), suspenseful and mysterious (in a supernatural kind of way), but just too overdrawn.