Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Scotty Burke It is interesting even when nothing much happens, which is for most of its 3-hour running time. Read full review

Nick Duguay This feels like it may have been an influence on Fulci's A Lizard in a Woman's Skin. Despite starting off this review with such a positive statement, Nightmares Come at Night is not exactly an undiscovered gem. There's a reason this erotic thriller is hard to find. Here, we have Franco at his most experimental- long, extended dance and strip scenes, gratuitous lesbian sex, constant use of the zoom function that can leave one dizzy, and a plot that is nearly completely incomprehensible. As far as I can gather our main character was working as a stripper when another girl, blonde, seduces and bewitches her. She forces our protagonist to come live with her in her (naturally) lavish mansion, where the girl begins having nightmares of bloodlust and murder. For some reason the blonde girl keeps calling the doctor even though it's pretty obvious she's the one causing the odd happenings. (this is somewhat cleared up later). Next door a random trashy couple is spying on the two girls. This also causes confusion as the neighbor girl looks almost exactly like the protagonist. Naturally infidelity abounds, but it feels more the product of an attempt at creating singe sort of tension than a real part of the story. Nightmares Come at Night is Jess Franco at his most impressionistic, it's highly psychedelic and completely incoherent- and believe me when I tell you that I don't say that lightly, being a huge fan of Franco and Rollin and giallo fanatic. So as you can see I'm very used to the dreamlike, surreal nature of 60's-80's European horrors and erotic thrillers; and even for me this is a conundrum- but a pleasant one nonetheless as long as you aren't too analytical and you can enjoy the visuals.

Bezenby I paid twenty-five pence for this and still feel ripped off. I only bought it because my kids had already chosen three films and you get four for a pound in Cash Generators (certain branches only). I was also curious to see what the fuss is about Soledad Miranda, only to spend most of the running time wondering why the main lady prancing about and mumbling looked nothing like the girl on the cover. Turns out Jess Franco has pulled a Godfrey Ho on us and spliced two films together, one of which contains Soledad (and her arse) hanging around an attic somewhere talking crap while the other concerns a psychotic stripper who keeps dreaming of killing people while having a relationship with a naughty lady in a big mansion. She also spends most of the film naked, as does most of the people here.In the hands of a good director (or even a good bad director, like Bruno Mattei) the story of a psychotic stripper who may or may not be killing people while hunting for underwear would make for a hilarious and gory experience, but in the nicotine stained hands of Franco, every scene is drawn out beyond endurance, the whole thing is narrated by the lady in a slightly reverbed voice for extra crapness, and the nudity is probably more likely to bring those Cheese and Onion flavour Aldi crisps back up your throat. One woman's boob looked like a huge celeriac with an unfurled condom sitting on top of it and another looked like she'd been hit between the legs with a bag of soot. And since this is 1970's Europe, everyone looks like they stink. Yet another winner from Franco then! Love the fact that during her strip scene, the lady narrates that her boss told her to make it seem like it went on forever and to be a slow as possible. Consider your job done, missus!

John Seal Jess Franco claimed in 1973 that this was the lowest-budgeted film he had ever worked on, and his claim is borne out by what is (and isn't) seen on the screen. Much of the film consists of un-erotic groping and a somewhat more inspiring (but still overlong) strip tease, most of the plot is conveyed by voice-over narration, and Franco's developing penchant for the zoom lens is becoming evident. On the plus side, Paul Muller is predictably good, but given much less interesting material than in his previous Franco production Eugenie de Sade. I'm generally inclined to cut Franco some slack--the man rarely had the resources he needed--but this is definitely one of his lesser efforts. That said, Bruno Nicolai's score is excellent and well worth acquiring on CD.

BA_Harrison Although the packaging for Nightmares Come At Night promotes Soledad Miranda as its star, it is Diana Lorys who takes centre stage as Anna de Istria, a stripper who is seduced by Cynthia Robins (Colette Giacobine), a mysterious blonde who frequents her show. After being lured to Cynthia's home, Anna suffers a series of nightmares in which she sees herself committing murder, but despite help from her doctor, Paul Lucas (Paul Muller), she gradually begins to lose all grip on reality.Recently rediscovered and never before released: so says the blurb on my DVD box for this erotic horror from prolific director Jess Franco. It's a statement that begs the question 'why did some idiot have to go and find the bloody thing?' because Nightmares Come At Night could have lain undiscovered for an eternity, and I couldn't have cared less: it's Franco at his most illogical, incomprehensible, and frustrating.The director takes a rather promising premise, packs it with quality naked Euro totty from start to finish, yet still somehow manages to produce a finished product that has the ability to make one's eyelids feel as though they have lead weights sewn into them, and as usual, his directorial style can be described charitably as 'unique', although I prefer the adjective 'crap' (this guy even shoves manic zooms into his opening credits!!!). Franco's story is extremely weak, and is merely a lame excuse to get his leading ladies to take their clothes off (although he can't even get this right: he has Anna partake in the most boring strip show to ever be captured on film).My version of this film was badly dubbed, something for which I suppose I should be grateful: I laughed a few times at the terrible dub track, and shudder to think how stupefyingly dull the film might have been without these unintentional moments of light relief. In fact, the highlight of the film for me was when the doctor uttered these words to Anna: 'you are a naughty little girl who, with a twitch of her magic stick, can transform her into a pink little pig or a stout and ugly black toad'. Whether this is an accurate translation I don't know (and what the hell it means is anyone's guess), but at least it made me chuckle! About the only other element worthy of note is the score, which lends a suitably grubby vibe and wouldn't be out of place playing in any sleazy 70s euro nightclub.There are those who have described this film as 'dreamlike'; my guess is that these viewers actually fell asleep whilst watching and dreamt of something far more interesting without realising.