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as Karl Anderson
as Miriam Webster
as Helga Swenson
as Dr. Jonas
as Jim Nesbitt
as Mr. Adrims
as Lt. Miller
as Mrs. Adrims
as Mrs. Forest
as 1st Clerk
as 2nd Clerk
Critic Reviews for Homicidal
While traveling along similar lines as Psycho, director William Castle and scripter Robb White manage to include enough originality that the shock ending still has the power to catch many viewers off guard.
There never was a Psycho knock-off quite as overt about it, yet at the same time as creative and effective in its own right,
The plot's soon dawdling, a stuffy, overheated theatricality creeping in. Its take on transvestism is lurid and basically anti-gay in its anti-sissy-ness. No pulpish curiosity but a mere footnote in the post-Psycho history of slasher movies.
What's really surprising about Homicidal is that...it's an enjoyably bizarre film, making some of the basic elements of Psycho even freakier.
Audience Reviews for Homicidal
I really liked this movie, it's one of Castle's best films, I think. The story starts with a murder mystery and gets more complicated and confusing, and ends with a crazy twist. It's a lot of fun, and I highly recommend it.
One of three William Castle films I took in this past weekend. And actually, as cheezy as it is, the most entertaining of the bunch. I thought I had the story figured out, but then the film went and threw me a couple of curve balls, A strange climactic scene that bore a resemblence to PSYCHO made me want to see the film again to fill in some details of how they got there.
Totally defanged as anything remotely resembling a thriller, horror or serious movie, but a relatively fun campy watch. I can't believe people never see the twist coming - I had it figured out within twenty minutes. Come on, have y'all never watched a movie before? Especially hilarious is William Castle coming to hold our hands in the last fifteen minutes of the movie, warning weaker members of the audience that what they're about to see is TRULY HORRIFIC and giving them a "fright break" to leave the theater if they are so inclined. Really, this is sort of an interesting look into a genesis of camp, where a genre piece has become so woefully dated (by means of technical composition and the changing of the form itself) that its worthlessness actually wraps back around to entertainment again. Fun, but too much of a Hitchcock ripoff to truly appreciate. Even in badness, originality is important.
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