Kritiken

Tarot readings, beachside drum circles and secret languages remind of Harrington's interest in the occult, never uncannier than in this story of selves split between rational daylight and mythical nighttime.

Night Tide shares more than just superficial similarity with Cat People; it is a direct continuation and embellishment upon the earlier film's ideas about sex (and women and fear) in America... The fear of ones own sexuality and what it could do to another person is at the heart of both Night Tide andCat People.

The film is so lovely that the characteristic Harrington theme of incestuous obsession hits you nearly on the rebound, asserting itself with an intensity that empowers Night Tide to quietly grow in stature as you turn the film over in your mind.

This mystery/fantasy/beach party hybrid is marked by Harrington's personalized take on the gracefully graceless American Independent Pictures house style, yielding a gem of low-budget film poetry composed under the sign of Anger, Deren and Harrington's future employer, Roger Corman.

Too precious for the hipster crowd and too arty for the horror hounds, shelved by AIP and finally dumped on the market two years later, NIGHT TIDE is the rare picture that's divisive because of its sensitivity. Dennis Hopper has never been more vulnerable on screen—he's a kid playing a kid, but he still comes off as a Method outsider looking in on an unfathomable character.