Doomtomylo a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

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

satyr12 I actually felt the need to make an account just to submit a review on "Sleepless". I honestly do not believe the current reviews do this movie justice, it is an inconsistent, B-grade, incredibly boring, badly made movie.Every single review on here is either from fans of the director, or Italians trying to support their film industry. This movie is not unique, neither is it interesting, and the acting is terrible.Everything i saw in this B-grade slasher i had seen previously in other, better movies.Yes, I have seen worse, but currently this movie is sitting very low on my list. Nothing interesting happens, the "murder" scenes made me laugh out loud, and the story was absolutely ridiculous.Holy Jesus batman! its a killer dwarf! hes gonna knife us!

Leonard Smalls: The Lone Biker of the Apocalypse Well, as a HUGE Argento fan, I feel a little bad writing a review like this, but I have to say it: this movie wasn't that great. The gore was awesome. I loved the first ten minutes or so, it reminded me of the last ten of "Suspiria." It moves so fast and it's so insane, I felt like I was in for the ride of my life. But then, the train slowed down...way down.As we are introduced to many characters, we get to know a man who is hiding from his past, a past which includes the murder of his mother. He witnessed the event and is severely traumatized by it. There is a retired policeman who thought he solved a murder, but now the murderer is back. I was definitely impressed so far. Then, we get a sappy romance...a lot of boring dialog and misleading events. I had to have some coffee to stay awake through the last hour of the film.In the end, we could have never really guessed who the killer was. It makes pretty much no sense. Actually, it's ridiculous. We find that there are a few cheap shots thrown in on the viewers for good measure and none of it really adds up to anything but a film that is clearly intended to be an impossible-to-figure-out murder mystery. Atmospherically, an enjoyable movie but only for the avid Argento fan. I'd recommend several others before this one. Nowhere near as good as "The Stendhal Syndrome." 5 out of 10, kids.

Graham Greene Sleepless (2001) finds director Dario Argento at his self-referential best; producing a film that seems like a veritable greatest hits package of his more recognisable trademarks and preoccupations, including the revelation of a traumatic childhood event, the reliance on the juxtaposition between an older, more seasoned character and his young protégé turned amateur sleuths, the foregrounding of a burgeoning love affair and the always prevalent notions of sight and perception. It taps into the territory of his earlier films perfectly, with the depiction of a black-gloved serial killer prowling the night and killing to the rules of a bizarre children's storybook that is rife with reminisces to Argento's earliest masterpiece, Deep Red (1975). Admittedly, it could be argued that the film falls apart a little towards the end, but for the most part Sleepless is a fantastic thriller, and easily Argento's best film since Opera (1987) more than a decade before.It was touted at the time as the director's return to his more traditional Giallo roots of films like The Bird with the Crystal Plumage (1970), Four Flies on Grey Velvet (1974) and Tenebrae (1982); though I'm sure some would still argue that it doesn't quite achieve the creative highs of those particular films, with the occasional flaws - many of which Argento fans will have come to know and love - marring the film in the second half. However, I think even the most vocal critics would be able to see it as a self-conscious effort on the part of the filmmaker to create a film with a writhing and endlessly fascinating plot, some bold visual compositions and scenarios that recall the greatness of his earlier work, and of course, lashings of gratuitous violence. The presentation might be a little more cutting-edge, with the modern-day, 21st century streets of Rome and contemporary attitudes of its characters further fuelling the plot; however, the structure of the film, the relationships between the characters and the fantastic way that Argento builds tension and dread is right out of his "animal trilogy" of the 1970's.The murder scenes are as inventive as ever, filled with those trademark POV shots and plenty of bravura, with the cinematography of Ronnie Taylor thankfully being closer to his work on Opera (1987) rather than The Phantom of the Opera (1998). The opening scene itself is one of the greatest things that Argento has ever directed, skilfully establishing the back-story of the killer and his particular Modus operandi as he stalks a terrified prostitute through a passenger train and out onto the empty, nocturnal train station, in a manner that recalls the opening sequences of that perennial favourite Suspiria (1977). The grandiose scenes of stalk and slash terror is to be expected from Argento, especially with the memory of his earlier films still in mind, however, what really sets Sleepless apart from his more recent works, like The Stendhal Syndrome (1996) and The Card Player (2005), is the compelling performance from a genuine acting legend; in this instance, the ever-brilliant Max Von Sydow.Von Sydow plays Ulisse Moretti, a now retired police detective still obsessing over a shocking murder case that took place eighteen years earlier. As fate conspires to throw Moretti together with Giacomo, the son of the original victim, the two men decide to re-investigate the case in light of recent murders that seem to point to the same killer, or indeed, killers. Though Stefano Dionisi as the earnest and enthusiastic Giacomo lacks the natural ability of Von Sydow (a fact not helped by his rather poor English dubbing), he still manages to carry his strands of the narrative fairly well, while the scenes between their two particular characters resonate with the same kind of mutual respect and contagious curiosity that was found between the lead characters of The Cat O' Nine Tails (1971) or even the aforementioned Deep Red. Some of the other performances aren't quite as strong, though the shadow of Von Sydow and the technical virtuosity and ace storytelling of Argento definitely make up for it; turning a film that could have easily become generic and derivative into a genuinely interesting murder mystery.It might not be Argento's greatest film; lacking the unconventional flair and visual eccentricity of Deep Red or the self-reflexive experimentation and daring design of the classic Tenebrae, it does at least deliver on the basic levels of story, characters and vision. As mentioned before, the ending falls apart somewhat; certainly not to the degree of The Stendhal Syndrome or The Card Player, but enough to detract from the overall experience. It's a shame too, as the individual elements of the film are great and filled with numerous Argento touches of horror and humour. However, for this to really be considered a masterpiece it needed the kind of jaw-dropping final-act revelation of the films he made in the 70's and early 80's. Without question, Sleepless is still a great film for those in the right frame of mind and definitely something that should be appreciated by long-term Argento devotees still desperate for something that comes close to the tone of his more iconic early works.

Witchfinder General 666 Dario Argento is one of my personal favorite directors, and many of my fellow Horror buffs will agree that the man is one of the all-time Horror greats. Films like "Suspiria" (1977), "Profondo Rosso" (1975) and Phenomena (1985) range among my all-time favorites, and Argento's repertoire includes several other masterpieces of Italian Horror/Giallo, such as "The Bird With The Crystal Plumage" (1970), "Opera"(1987) or "Tenebre"(1982). After several inferior films that he made in the 1990s, such as the decent "Trauma" of 1993 and "Two Evil Eyes" (which he made with fellow Horror-deity George A. Romero in 1990) and the disappointing "Phantom of the Opera", the master returned to his old style - and old greatness - with this "Non Ho Sonno" aka "Sleepless", a tantalizing and ultra-violent Giallo, in 2001. The good-old Giallo premise is still working greatly, and the fact that Argento borrows many elements from his older films does in no way downsize the greatness of "Sleepless". On the contrary, this is the absolute proof for us Italian Horror buffs that great Gialli can still be made in the 21st century.In 1983, young Giacomo has to witness the brutal murder of his mother, who is one of the many victims of a Turin murder series. 17 years later, Turin is struck by a murder-series again, and the horrid crimes seem to resemble those from 1983. Even though he has spent the last 17 years trying to forget, Giacomo (Stefano Dionisi), who has since moved to Rome, decides to come back to Turin. Since the police make little progress, Giacomo and the retired homicide detective Ulisse Moretti (Max Von Sydow), who was working on the cases in 1983, begin to investigate themselves..."Sleepless" brings the old-fashioned Giallo-greatness that we're used to from Argento. A creepy atmosphere, stunning suspense, ultra-bloody murders, an excellent cinematography and especially another ingenious score by Progressive Rock band Goblin - this film delivers all the great elements that we love Argento for. Argento has once stated that this is the most brutal of all his films which is not exactly true. The violence and gore are extreme, no doubt, but films like "Tenebre", "Phenomena" or "Opera" are at least equally violent, if not more. Dario Argento is not exactly known for his tameness when it comes to violence, and this is yet another (immensely stylishly) ultra-brutal Argento experience. As I stated above, Argento uses some elements he has used in his older films - but he does so in an great manner. Elements like a creepy nursery-rhyme are downright ingenious and give this the tantalizing and superb atmosphere that is typical for Argento. An absolute must-see for Horror fans, especially my fellow Argento-enthusiasts can not allow themselves to miss this! Great!