Atmospherically set within the isolated, faintly macabre-looking medieval town of Monemvasia this still unfairly neglected 80s creature feature begins with Greek Island hopping newly-weds Neil (Martin Kove) and Sherry Grice (Mary Louise Weller) somewhat unwelcome arrival, where the altogether bizarre locals seem greatly reluctant to grant Neil's earnest request for any assistance that might help locate his missing sister Madeline, played by spaced-out glamourpuss Deborah 'Nemesis' Shelton. On the Grice's first actively unsettling night they meet the no less eccentric couple of bodacious bikini blond bombshell Barbara (Lydia Cornell), a heroically hot beach bunny very much caught up in a delightfully ditsy world of her own, and bubble-headed Barbara's amusingly bluff, covertly treasure hunting boyfriend Frye (James Earl Jones) is not only one of the film's most amusingly ambivalent characters, but acts as the catalyst that guilelessly ushers forth the monstrous Blood Tide which soon gushes up madly from the bowels of hell and threatens to engulf them all! While rather conspicuously contradicting the enticingly garish title, this almost creature-less feature surprisingly proves itself to be a weirdly entertaining off-beat, B-Movie melange of macabre midnight Movie Madness, creepy, esoteric folk horror curiosity, waterlogged, cod-Peter Benchley 'what-done-it', with its rough, sun-baked charm given some additional lustre by the likeable performances of an experienced cast of award-winning Thespians, amusingly contrasted by the naive presence of dreamily beautiful Deborah Shelton, who not only manifests a delightfully strange aura, but also provides the not unsympathetic voice and lyrics to the jaunty, if singularly unmenacing title music, with the bulk of the effective score composed by Jerry Mosely who also did some equally fine work on 'Frightmare' (1983). Writer/director Richard Jefferies terror tainted 'Blood Tide' is an unconventionally restrained horror film that beguiles due to its moody atmosphere and abundant eccentricity rather than a default reliance on explicit gore.