Nosferatu Review

Truly there is no such thing as finality.

What's in a remake? Many modern movies aim to capitalize on established intellectual properties to generate profits. As a result, artistic vision is often compromised, leading to uninspired repetitions focused on maximizing revenue. A remake should honor its source material while introducing new elements that justify its existence.

Robert Eggers' Nosferatu is imbued with incredible passion. The production design, cinematography, and performances reflect a creator who has dreamt of this project for decades and finally brings it to life with remarkable skill. While this dedication is admirable, I couldn't shake the feeling that Eggers played it too safe despite being entrusted with a beloved story. It's surprising to say this about a film featuring a horrifying Count Orlok lurking in the shadows, sucking and oozing blood everywhere. Still, this retelling of a century-old masterpiece felt cautious, even though it was expertly executed. Lily-Rose Depp goes sicko mode and delivers a terrifying performance, pushing the boundaries of expression in ways that seemed only possible in nightmares. Yet, she embodies the film's only genuine emotion. Aside from one member, whose performance I will address later, the supporting cast is superb. Nosferatu showcases immaculate lighting, a brooding and eerie atmosphere, and a sense of dread that only a few masters can create. However, it adds nothing new to the mythos we haven't already experienced.

Nosferatu tells the tale of Ellen (Lily-Rose Depp), who seems to have an otherworldly sexual connection with some devilish being. This connection is physical and spiritual, as it appears to affect Ellen's psyche profoundly. Ellen's husband, Thomas (Nicolas Hoult), sets off to Transylvania to secure a real estate deal to ensure his family financially. He is sent by his boss, Herr Knock (Simon McBurney), secretly part of an occult trying to bring Count Orlok (Bill Skarsgård) to Germany. Thomas arrives at Orlok's castle and realizes quickly that the Count is a Vampire and is after his wife, Ellen. The Count sets course for Germany, bringing about a plague of rats, and it's up to Prof. Albin Eberhart Von Franz (Willem Defoe) and company to stop this evil.

As I stated before, Lily-Rose Depp gives an out-of-body performance that feels like repression being built up over time, finally exploding into what looks like a demon needing to be exorcised. Isabelle Adjani's performance in Possession is an evident influence and not a bad one to pull from. The things she can do with her body while under the trance of this world and monster are incredible to watch. Skarsgård, as Count Orlok, is doing some demonic and guttural stuff here with this haunting voice that's so damn good. The design of the Count is utterly disgusting, covered in worms, clearly rotting, and being this animal of just pure appetite is so sick—stunning creature design that gives off such a strong presence, the stache helps. Hoult, as our every man who's caught up in this insane adventure, holds it down so well, and we see him just become more obsessed and caught up in the madness.

I could spend some time on how good the supporting cast around these three main leads is. Defoe, for instance, channels this mad and noble professor, looking for the greater good. His character, Prof. Albin Eberhart Von Franz, is a man of science and reason but is also profoundly haunted by his past encounters with the supernatural. His performance adds depth to the film's exploration of the battle between reason and the unknown. How Ralph Ineson has become such a calming and professional presence and lifts any project he belongs to, or how McBurney's rendition of the Rennfield character perfectly encapsulated how we build up these monsters and worship them only to treat us like shit so eloquently. No, it's time to bring up the elephant in the room, Aaron Taylor-Johnson, who is distractingly awful in Nosferatu. It's like he was in the wrong movie. Everyone is acting in circles around him while he's doing a high school rendition of Pride and Prejudice. I can't emphasize enough how terrible and lonely his character is until the end when he has a fight with Ellen, which may be his only good scene. Besides that, I was almost laughing at how poor each one of his scenes was. Justice for Keanu in Bram Stoker's!

There are some jaw-dropping shots in Nosferatu. It was so good that I felt transported into my favorite video game, Bloodborne, which has an eerie Victorian and Lovecraftian atmosphere. The detail of every shot and scene is just so much to soak in. I even forgave scenes where I couldn't see much because the intention to hide certain aspects from the audience was a choice, and I can respect that. There is so much beauty, but all can come off flat as there's no weird or dynamic movement or interesting camera work, all feeling like grounded and safe filmmaking sometimes. Eggers get weird. Come on! I can appreciate the phenomenal use of shadow, and the shot over the city of the shadowy hand was wildly exhilarating. The film's shadow and lighting add to the eerie atmosphere, creating a sense of dread. I wanted more. I wasn't a fan of the jump scares Eggers used here, and I did not feel earned in the horror I am used to him doing.

There's so much I do love about Nosferatu. The way town goes into complete chaos when Count Orlok arrives, and we see the city turn to complete shit. I love Eggers adding all the occult weirdness to this tale, making it distinct from his own. I love the themes of classism and what we would do to save each other's lives or sell it all away. I love that final shot that looks right out of a beautiful Victorian gala. I say all that to say that during the film, I just wanted to watch 1992's Bram Stoker's Dracula, a movie that's horny and does weird and craft and emotion in ways that hit me way harder. I can't deny the accomplishment of making a horrifying and gross tale like this so accessible to general audiences. The film's accessibility to general audiences is a testament to its quality, but I think it's time we finally seal up this coffin for good.

Final Score: 8/10

Written by Kevin J. Pettit