Atmospheric (a big plus in any horror flick), lots of Argento's trademark stylish use of colour and Steadycam, and the gravitas of von Sydow on one hand can't disguise a lack of real fear and the presence of some sizable plot holes on the other. But the reveal of the killer with that sing-song little boy voice always creeps me out.
Classic Argento. Women in peril, nursery rhymes, animal symbolism, amateur sleuths and playful self-reflexivity; Sleepless has it ALL! The film is also fairly stylish (in the ridiculous way that Argento films often are), with the tracking shot along the opera house carpet rivalling Tenebrae's famous Louma crane shot for its sheer, brazen audacity. The always excellent Max von Sydow brings an obvious touch of class.
Probably the last movie Argento made that came close to "good" and the presence of Max Von Sydow helps this. It's cheap look doesn't herald back to the days of early Argento like some would have you think, but it has its moments, and the final death in the movie is one of the most shocking and disgusting in the man's entire filmography.
**1/2 Average giallo with some great sequences like the train scene or the opera murder. But, once again, Dario Argento proves that he's not a scriptwriter. In short, he's not an auteur. He's a gifted technician alright, a little master at the most but not an auteur. He should have got on with the adaptation of novels (THE STENDHAL SYNDROME).
Forse il miglior Darione degli anni 2000;è recitato col culo,ma stavolta la sua mano torna visibile e la gestione degli spazi e dei tempi "omicidi" fà capire subito chi è che tira i fili.La spiegazione finale è un pò tiratella,ma come giallo regge e dava speranza che un pò Argento si fosse ripreso,speranza naufragata nella merda proposta successivamente......forse il suo ultimo lavoro decente.
It really is his best modern work he's after Opera ended an era in 1987. There are plenty of insane nonsensical story and plotting here, but the set pieces work and clearly harken back to Argento's glory days selectively. The prostitute looking through the train's rubber flaps for one. Notice how this turned out fine without the use of Asia in an acting role? Hmmm...
Dario Argento begrüßt die Jahrtausendwende auf blutroter Leinwand mit anfänglich hypnotischer Faszinationskraft, welche jedoch nur halbstündig einen nostalgischen Giallo-Effekt erzielt, und anschließend den sekkant begehrten Goblin-Score demontiert. Einziger witziger Nebeneffekt: der deutsche Exportbösewicht Thomas Kretschmann mit ungewollter Spaßmacher-Attitüde.