SteinMo What a freaking movie. So many twists and turns. Absolutely intense from start to finish.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

framptonhollis I caught this randomly of TCM. I was thinking of turning off the television set when suddenly I saw William Castle's name and got intrigued. I have previously seen 'The House on Haunted Hill' and I think it's a pretty great, genuinely CLASSIC horror film, and overall I have found Castle's career to be extremely compelling and kind of funny in a way. Castle was a filmmaker who grew to be iconic largely b/c of his gimmicks, which perfectly encapsulate the atmosphere of horror cinema at this time in filmmaking history ("this time" referring to the 1950's to the mid-1960's), and I was totally hooked on watching this film once it began, w/a shot of a large clock on a clock tower as a narration informs the viewer that over the course of the next hour and fifteen minutes prepare to be horrified or something along those lines, and amusingly suggesting that I, the viewer, calm whoever I am sitting beside in the theater if they get too visibly scared and that, and I just found this hilarious and felt like I was in for a comedic (if only ironically so) treat. Well, what I got was something quite unexpected and different than what my mind had planned. There were quite a few unintentionally amusing moments here and there, but the overall film was super dark. Like, it tackled some extremely disturbing topics in a really weird and eerie (if oft cheesy) way. I don't exactly know how I feel about this film, beyond knowing that I liked it, despite there being various extreme plot holes and the overall fact of its ending (which that same narrator from the beginning urges his audience to not spoil any of there friends, and to tell said friends to go see the picture for themselves, which I also found pretty funny) being less-than-satisfactory if (at least sort/kind of) unique/interesting/unexpected/fittingly-melancholic-in-a-way. Sometimes, watching films at total random can be a real experience, and this certainly was one. Full of surprises, unintentional laughs, genuine moments of shock and near actual fright...it's a time to be had for sure.

greyghost-49588 The acting in this movie was soooooooo bad that the only thing I could think of to compare was 'Plan 9 from Outer Space'. Jim Backus was the one notable exception.

adriangr Macabre tells the tale of a small town doctor who gets a cryptic message telling him his small daughter has been kidnapped and buried alive. He has to find her before time (and her air!) runs out.William Castle started as he meant to go on, with a low budget, yes, but also with the ability to direct and photograph what counts: tight dramatic scenes, stark lighting and shock effects. I am sure the audiences loved this when it first came out. It's pretty short and actually quite low on action, even tough it's central idea (death of a child by suffocation in a coffin) is quite nasty.The acting is variable. Jacqueline Scott overacts rather as love-lorn nurse Polly, whereas William Prince tends to keep things fairly wooden as the tormented doctor. They are better supported by the rest of the cast, who all do great work, especially Ellen Corby who I love as the child's elderly nursemaid. Castle always seems to get quality actors for the small parts in his movies, even if the leads can be a bit flakey.There's lots of acton set in a graveyard as the cast equip themselves with spades and torches to search for the missing child, and in a nice touch the film only covers a period of about 5 hours in time (a clock reminds of of this), although two fairly long flashback fill in some details of past intrigues. The film only really boats a handful of shocks, the notable one being some hilariously gruesome remains found inside a coffin, and a dead body found suddenly in a dark corner. Short enough and silly enough to be entertaining, it shows that William Castle knows how to make a movie.

LobotomousMonk A ticking clock visually accompanies a prologue for Macabre as a warning is announced regarding the possibility of fright that could lead to injury for the film spectators. The clock will reappear at intervals throughout the film and is an object from the diegesis of the film (it hangs over the funeral parlor like a theater marquee). The clock was perhaps Castle's most popular motif throughout his career. Macabre is Castle's first gimmick horror film and his first teaming with screenwriter Robb White. They formed an excellent partnership and brought their A-game to B-films. There is creative framing, good blocking/staging of the characters as well as novel lighting setups which help to create an eerie, yet familiar mood (the familiarity makes it all the more eerie of course). Some reviewers have criticized the use of flashback sequences and at first I was inclined to agree about their superfluousness. I reversed myself when I discovered that Christine White's performance was the bulk of what I remembered from the film. She makes an impression as does her dynamic character, caught between childish innocence and vamp seduction. What her character is truly blind to is conscious self-reflection and introspection and this provides a cue for the audience to begin evaluating information differently while experiencing the film. I believe that White and Castle hoped to elicit a sense of suspicion and paranoia for the audience through these plotting techniques. The flashbacks are not convoluted but do certainly contribute to an over-arching contrivance in the plot of the story as it pertains to trysts and family relationships. Other contrivances are just silly - a dying old man wields a devastating cane in a manner that would require the lats of Atlas himself. The contrivances hold up though as does the gimmick Castle employed to generate hype about the film. The beneficiary agreement that patrons signed when attending Macabre is not hokey in the slightest as it connects up perfectly with the story and main plot point of the film itself. "How do I know there was a phone call" is an important line in the film that marks a further progression in the fostering of suspicion and paranoia. These single-minded goals keep Macabre true to its genre and the mood it seeks to create. The second flashback may seem too obvious but it aptly supports the paranoid suspicious mood Castle hopes to propagate through the characters and surely within the audience as well. The main spook of the film is a blink-and-miss-it kind of ordeal and is more relevant as a diversion for closure than as a genuine creator of shock or terror. The final shot of the film is abrupt - curt and discourteous - and is likely the worst shot in the film as a result. It is followed by the most ham-handed part of the film where the voice over narration starts up again, this time reminding - or warning - the audiences to keep their lips sealed about the ending of the film once leaving the theater. I cannot understand this warning because it seems to presume that young people are sufficiently immature to thrill in schadenfreude spoilers while neglecting the recognition that said young people would also necessarily be the types to do the opposite of whatever an adult tells them. Ironically moronic if you ask me. Excellent animation is provided for the end credits and many felt that it was the highlight of an otherwise lack-luster film. I would tend to disagree with that opinion. Macabre is a fun, well-paced, well-directed, well-scripted, well-acted suspense thriller horror film that marks a special time in film history as the B movie attempted to grow some legs at the box office and some independent wings in the creativity department. After watching the dreary Katzman-Castle historical dramas, Macabre is a sight for sore eyes.