By 
PROVIDENCE! THE DEVIL IS IN THE
CINEMATIC DETAILS
Tales of vampires have always been a main staple in the horror genre….and I’m not just talking about movies. Mythical undead creatures of the night that derive from European folklore that subsists by feeding on the vital essence of life (aka blood) and have been classical depicted in traditional forms (i.e., pale skin, fanged teeth, dark hair, sleeps in coffin, hates the daylight, etc.). Perhaps the most famous comes in the shape of Dracula (aka Vlad the Impaler), with such description of being has transcended average folklore tales and has manifested in mainstream pop culture. With such fascination of vampires (and or Dracula himself), Hollywood has taken interest in these vampiric creatures in a wide variety of motion pictures, including 1992’s Dracula, 1994’s Interview with a Vampire, 2003’s Underworld, 2004’s Van Helsing, 2008’s Twilight, 2012’s Hotel Transylvania, 2014’s Dracula Untold, 2022’s The Last Voyage of the Demeter, and many others. Now, Focus Features and director Robert Eggers presents the latest film to chiefly feature a vampiric being with the release of Nosferatu. Does the movie find its thrilling and terrifying chills within Egger’s dark depictions of storytelling or is it drabby knock vampire knock off that needs to be staked in the heart?
THE STORY
Set in 1838, in the town of Wisborg, Germany, Thomas Hutter (Nicholas Hoult) is an estate agent solicitor that is tasked by his superior, Herr Knock (Simon McBurney), to make a laborious journey to the remote location of Transylvania to visit one Count Orlok (Bill Skarsgard), a wealthy yet enigmatic individual who’s looking to complete a land deal in Germany. Instead of a simple legal matter, Thomas is faced with horrific nightmare as Orlok’s mountainside castle becomes a desolate maze of death and darkness he can’t escape from, soon recognizing a vampiric force pursuing him. Meanwhile, Ellen Hutter (Lily-Rose Depp), Thomas’s new bride, is convinced that her husband is in grave peril, as she’s shares a unique connection to Orlok from a pact that she made some time ago with the ambiguous being. As Thomas works to break free from the vampire’s grasp, dire events arrive in Wisborg, as evidence of a plague emerges, causing mass hysteria and death among the townspeople. Yet, Dr. Wilhelm Siever (Ralp Ineson) isn’t as sure, recruiting his old metaphysical colleague, Professor Von Franz (Willem Dafoe), for help, putting his knowledge of the mysticism occult to use. With the plague spreading and Ellen facing terrifying demonic convolutions, and Thomas desperately trying to return home, all events are being pulled by Orlok himself, who seeks to claim Ellen for his own and stop anyone who gets in his way.
THE GOOD / THE BAD
Borrowing my opening paragraph and this one from my review of 2023’s The Last Voyage of the Demeter (achieving both aims and goals on what I want to convey) …… while I do love movies (in general), I do love all stuff fantasy. Beings of folklore, beasts of legend, and creatures of mythology, I would say that I am a fantasy nerd through and through. Thus, it comes as no surprise, I do find a somewhat interest in vampires. Not as much as some out there, but it’s kind of an interesting notion of these undead creatures that prey upon the lifeforce of blood has become a fascinating topic in folklore and in pop culture. Of course, the classic Dracula moniker and depiction was probably one of my first impression of how vampires are to be seeing. Naturally, this cartoon-ish depiction of such a character was probably something that most of us first drew eyes upon of vampires. Of course, as I got older, I found that vampire themselves became more mature and something more ghoulish and horrific as well as learning of all their superstitious rules (i.e. sleeping in coffins, fearing holy water, dislike of sunlight, silver can kill them, etc.). From there, I can recall a lot of the movies that had vampires creatures such Dracula, Dracula Untold, Underworld, and Interview with a Vampire, with some being iconic in cinematic history, while others are just forgettable pictures (forgot to mention Morbius). Yet, I still like the Hotel Transylvania movies that play up those cartoon-ish tropes of Dracula (aka “I don’t say…. blah, blah, blah!). Of course, I would be remiss if I didn’t mention Twilight (and all of that crazy that went with that novel / film franchise), with the tale of Edward and Bella intermingling the vampiric creatures with more Teen / YA overtones of young love. Although, I never get the whole “sparkling / glittery” skin…. that’s just dumb. In the end, vampire still have a keen interest amongst many and throughout my cultures and Hollywood seems to continue feed that particular interest to moviegoers.
Naturally, this brings me back to talking about Nosferatu, a 2024 gothic horror film and the latest feature to display a vampire being as one of the principle antagonist in the narrative. To be quite honest, I remember hearing stuff about something called Nosferatu every now and again, but really didn’t pay the much attention to it. About a year or so ago, I came across the news that director Robert Eggers’s next movie was going to be titled Nosferatu and many of his fanbase were excited to see this upcoming film. Now, I have seeing some of Eggers work (The Lighthouse and The Northman) and, while they were cinematically brilliant in their presentation in their visual nuances and well-acting casting choices, I felt they were a little bit too artistic for my personal taste. Still, many out there were really “hyped” to see this movie when it was scheduled to be released on December 25th, 2024. If I recall, I think I only saw the movie trailer once or twice (during the “coming attractions” preview reel when I went to the movies and, while it did look interesting in a few pieces, I wasn’t really too keen on seeing, especially since it was going to be release during the holiday season, which was already congested with too many other movie releases that needed to see / review. Still, I did glance at the film’s cast, which was pretty stacked with several recognizable names attached to the project, it did look somewhat interesting. Before the film’s release, I began to see several advance reviews coming out for the feature and most (if not all) were pretty positive. So, after the busy holiday rush, I decided to check out Nosferatu (post-Christmas time) and went to see the movie a day when I was off from work. I did have to a little bit after that, for I did get a little bit busier in trying to punch out some of my 2024 leftover movie review before tackling this one. Now, with most of those reviews done and completed, I am ready to share my thoughts of Eggers’s latest project. And what did I think of it? Well, to be honest, I really liked this movie. Despite some minor nitpicks here and there, I found Robert Egger’s Nosferatu to be highly effective and a masterclass in film directing, demonstrating the right balance being dramatic visuals, striking atmospheric flair, and some great horror taste that only a skilled director to drum up. While there have been dozens of cinematic representations of Dracula and other vampiric association with that name throughout the many years of filmmaking, this particular one is profoundly amazing to behold, and director Robert Eggers really takes a visual bite out of this gothic horror.
As a sidenote and a little bit of backstory (in case you didn’t know…..like me), Nosferatu is based on the 1922 silent German film titled Nosferatu: A Symphony of Horror (or in its name language….Nosferatu: Eine Symphonie des Grauens), which (in turn) is based on Bram Stoker’s 1987 novel, Dracula. Now, Stoker’s literary work needs no introduction and has transcend the written realm, with Count Dracula becoming an infamous figure in pop culture for decades as mentioned above. However, when F.W. Murnau, the film’s director, adapted Stoker’s novel in the 1922 release, this action caused quite a stir, including the filmmakers and production company, who never obtained the rights to adapt Dracula. Despite Stoker himself passing away in 1912, his family (and estate) sued the production, with a court ruling in their favor and ordered all copies of the film to be destroyed. However, a few copies survived and Nosferatu went onto becoming the seminal horror film it is now revered as today. Of course, several adaptations have been made throughout the many years since the original 1922 film, some being more faithful or loosely based on the original source material, which certainly does bring us back to talking about Eggers interpretation of this narrative. Sorry for the little history lesson, but I did find it fascinating, especially since I really didn’t know anything about the origins of Nosferatu.
As mentioned above, Nosferatu is directed by Robert Eggers, whose previous directorial works includes such films as The Witch, The Lighthouse, and The Northman. As stated, I know that there are a lot of fans of Eggers work (causal moviegoers and film critics alike) that love his work, but I’ve been a bit “iffy” about his release, finding them to be a little bit “too artistic” at times. Still, pushing my initial thoughts aside, Eggers is known for “grounding” his features into realism as well as creating a unique visual style for each one. Thus, while he may not have the films under his belt, Eggers has always proven the classic saying of “quality over quantity”. Thus, with the notion in mind as well as his attention for a visual style, Eggers does seems like the most suitable director to helm a project like this, approaching the Nosferatu source material with a sense of director integrity and respect. In truth, the movie itself is one part gothic horror, while the other part is period piece drama. It definitely is quite a jarring aspect for such a depiction, especially one that involves vampires, possession, and plagues, but Eggers miraculously knows how to balance such nuances in a correct and cohesive manner that it all blends together.
Another strong aspect in the movie’s appeal and fascination is found within the feature’s script, which Eggers pulls “double duty” on this project, and helps create such an interwoven tale of various characters; all of which are effected and / or touched by Count Orlok’s demonic presence. The piecing together of such a narrative is indeed a daunting task, especially with so many characters and moving parts to examine, yet Eggers demonstrates a great job in managing such characters and storytelling elements to create a full-realized tale that’s full of substance and dynamics within their respective sums. Even the actual dialogue moments are methodical written in a way that speaks to the feature’s tones and facades as well as to the acting talents that play such roles in the movie. Every word spoken carries a lot of weight and does a great job in how its sharp and carefully written, with many of the wording feeling appropriate for the time period and not “out of context” for the film’s setting and era. All in all, I think Egger did a great job in the writing for Nosferatu, with the feature speaking for itself in how the director orchestrated everything in this grim dark tale of vampiric horrors and those intertwined by such nefarious threats.
In examine the horror aspect, Eggers delivers that notion quite well within Nosferatu, delving in some truly terrorizing moments that will surely send chills down your spine. The film’s scares and over all horror elements may not be the typical “jump scares” that modern Hollywood horror releases are known for, but Eggers knows how to demonstrate such circumnavigation in subverting expectations in knowing how to execute with great effectiveness. As such, the horror scenes might not be as scary as some might like them to be, especially for horror fans out there, but there is sense of true and unnatural dread in many of these sequences, creating a fear of unsettling and pure in a raw emotional state of horrific chills. It’s not just Eggers, but also the movie’s cinematography and the acting talent involved (more on that below) that help project such disturbing imagery of gory violence, savagery edge, and demonic possession. It’s in these moments where Eggers shine immensely, displaying such bone-chilling scenes that struck me to my core and felt totally immersed within such gothic horrors that are being unleashed visually on-screen. Although, as a caution to some viewers out there, the movie is still quite bloody and gory, with such imagery shown may be considered a bit excessive at times. Personally, it didn’t bother me (and I’m sure it won’t bother horror fans out there), but just a warning to the more squeamish moviegoers out there.
In his body of work, Eggers is also known for his atmospheric tones and visual presentation for his feature film endeavors, which is something that was quite noticeable to me when I watched The Northman as well as in his other releases. An attention to some of the more theatrical visual appeal that aren’t quite as “eye popping” as blockbusters have, but a more subtle touch that embraces the cinematic world. Flourishes of colors, muted tones, and an intricate understanding of style and dramatics has always been a celebrated notion and fascination within the director’s releases and does so again in this movie. Eggers is quite the master when it comes these nuances and continues that trend in Nosferatu, mixing the period piece setting with spooky / gothic thrills. The constant toned down of coloring is permeated throughout the entire feature, which helps build the spooky motifs and overall mood of the feature, with a constant gray-ish filter generating that foreboding nature that is found in gothic horrors of old. Plus, the usage of darker colorings of black and dark greys add to the overall bleakness and nocturnal frights that lurk in shadows, which is mostly apparent when the movie showcases Orlok castle, a place where a being of immense power and evil resides. Its in those moments where Eggers places a lot of emphasis on such coloring and tones, with such a contrast of visuals of lights and shadows that almost compliment the film’s thematic tones of good vs. evil. While it certainly can be a sort of “double edge sword” at times, the end result for such imagery is felt within the film’s final product, with Eggers giving Nosferatu a very cinematic and atmospheric feeling from onset to conclusion.
Within its presentation, Nosferatu is absolutely and visually beautiful within its depictions and visual style. From beginning to end, the film is dripping with a cinematic quality that Eggers has always been known for, with the project being another prime example of the director’s attention to detail within the movie’s background setting throughout. The depictions of the period piece elements is where this category shines the best, with Eggers and his team displaying some beautiful moments of mid-18th century Europe within such motifs, architecture, buildings (interior and exterior), hair / make-up, and costume attires. Everything looks authentic and lived in, adding to that real-world appeal, yet still speaks to the feature’s theatrical feeling and creating such an immersive backdrop that’s both haunting and beautiful at the same time. Plus, it also helped that Eggers filmed the movie in both Prague and Czech Republic, which helped aided in creating that rugged European period piece look and feel for the picture’s background setting. All of it works in tandem with one another and helps create such that classic gothic European look that Eggers envisions for his interpretation of Nosferatu. Thus, the feature’s “behind the scenes” major key players, including Craig Lathrop (production design), Beatrice Brentnerova (set decorations), Linda Muir and David Schwed (costume designs), as well as the entire hair / makeup team and the whole art direction department should all be highly praise for making the movie’s background setting and various sets come alive with such realism within their presentation as well as perfectly captured for a theatrical motion picture. All did excellent work, and I highly commended them.
As I mentioned above, Nosferatu is dripping with both cinematic and atmospheric overtures and thematic tones that help make such imagery so theatrically beautiful and, while Eggers certainly has a hand in its setup, his frequent cinematography collaborator Jarin Blaschke executes those shots accurately and masterfully. Blaschke’s experience with working with Eggers from his previous releases helps create such a perfect union in such visual representation, which is clearly and visible shown in this movie. The way the camera is angled and / or presented helps project such powerful imagery, with some clever and creative ingenuity being showcased in some a ton of scenes and sequences. The dreary contrast of blacks, white, and grays, helps generate that gothic horror feeling, while Blaschke techniques creates some immersive moments that feel as if the ripped from a book’s narrative in creating such a impactful and dynamic usage of shadowing and lightning respectfully.
In addition, the sound design team in both editing and sound mixing departments should be highly praised for their work on Nosferatu, demonstrating the attention to the audio designs that work with the various on-screen imagery be shown. Every creak, crack, clank, and bang is heightened to great potency to help generate such powerful noises to stimulate the auditory sense. This is clearly noticeable in every time that Count Orlok speaks and such weighty voiceover ADR sound mixing and editing is spot on. In a nutshell, the sound design for Nosferatu is fantastic to physical hear. Lastly, the film’s score, which was composed by Robin Carolan (who had worked on Egger’s The Northman), delivers a powerhouse film soundtrack that help project the director’s vision for this theatrical and cinematic gothic horror piece. Carolan’s composition is oozing with atmospheric feeling, complying motifs and pieces that certainly have that unsettling and foreboding, adding an extra layer to the picture’s ominous tone.
There wasn’t much that I didn’t like about this movie, but, if I did have to nitpick, there were several minor criticisms that I had with Nosferatu. What were they? Well, for starters, the movie feels a bit unbalanced in its characters at times. Or rather….I should say that their arrangement in the main narrative being told seems a bit unbalanced. Don’t get me wrong, the character themselves are drawn out and flesh out rather well and performed fantastically by the cast, but I am talking about how they managed in the movie. Certain characters come in and out of the story rather quickly and then completely absent in huge chunks of the feature or they sometimes start out quite strong and important to the film’s spotlight (i.e. Thomas Hutter) and then completely dropped in the second act, only to reappear in the third act. I know that’s super minor complaint to criticize the movie on, but it just feels a bit inconsistent every now and again. Thus, the characters placement and their overall management in the story does feel slightly jumbled.
Another minor point of criticism is that the movie feels (at times) both overstuffed and too thin in some sequences. It’s clear that Eggers wants to capture his commonplace visual style of cinematics and atmospheric depictions. Yet, those elements (in a few pocket areas in the film) feel a bit superfluous at times and make some sequences drag and results in some pacing issues. Coinciding with that, there are areas in the movie where certain storytelling elements could’ve been expanded upon and feel too hurried in their presentation. Again, not a major deal breaker, but an observation in how the flow of the feature is presented.
Lastly, the film’s closing moments feel quite abrupt and just simply ending, closing out the film on rather rushed with some minor ambiguity. Of course, I am not talking about the close scene, but rather the final minute or two where the feature leaves the story and characters, which leaves a lot to be desired. These types of concluding a film in such a manner (i.e. ending rather abruptly) can be a little bit off-putting, with myself personally not caring for them. I know it’s more artistic flourishes, with more creative directors liking to end their picture on ambiguous / vague on, but it feels a bit incomplete way to end the movie on, leaving some things left unshown / unsaid. Not so much a major deal breaker for me, but I’ve never been a fan of this style of closure.
The cast in Nosferatu is another big highlight of the movie, with assembled acting talent generating some high quality performances in all their various capacities on the feature. It’s clear that they all wanted to be in an Eggers movie and is demonstrated wonderfully within their respective portrayals of these characters. Each one of the main cast gets their moments to shine the film and their written dialogue helps bring their characters to life in a very vivid and theatrical way. Leading the charge in the movie are the film’s two main protagonist characters Thomas and Ellen Hutter, who are played by actor Nicholas Hoult and actress Lily-Rose Depp. Hoult, who is known for his roles in Tolkien, X-Men: First Class, and Mad Max: Fury Road, has always been a good actor, who usually leans into more off-kilter and / or oddball characters throughout much of his characters, which he does quite well into this peculiar roles. However, him playing the “straight laced” character, who has more society driven individual or something of a period piece drama is always a great and Hoult can easily and gracefully pulls it off the correct way. Hence, probably the reason why Hoult won the part of Thomas Hutter, a man who is caught in between such vile and terrifying lust of affection for his wife and who must muster up courage to do the right thing. Hoult gives a lot of his talent in this portrayal of Thomas and certainly knows how to delivery such a character performance, which is clearly visible when he (the character) first meets with Count Orlok. The unsettling and nervous first showcases at the begin of this scene is slowly transformed into sheer terror and fearfulness and Hoult is quite capable of conveying such range of theatrical character emotions wonderfully, showcasing the true horror of just being in Count Orlok’s presence. Truly bone-chilling. The character of Thomas Hutter is rather straightforward and I think could’ve been expanded on a bit more (as mentioned above), but he certainly does play the right part as the almost “hero-like” character in the story being told as well as showcasing of being the concerned husband to his wife, Ellen. Overall, Hoult was perfectly cast in the movie and he did a great job in playing Thomas.
Speaking of Ellen, Depp, who is known for her roles in The King, Tusk, and Yoga Hosers, is another standout acting talent involved in this movie by showcasing such a multi-façade performance as Thomas’s wife / Count Orlok’s love interest. Rather than just being the simple “damsel-in-distress” for both the protagonist and antagonist of the narrative, the characters get a lot more to do and slowly becomes an important player in the story. In addition, Depp’s performances shine immensely because of the range of character performances such has to be called upon in her portrayal of Ellen Hutter. From concerned wife to demonic possession (and everything in between), the character of Ellen goes through the ringer and Depp’s ability to change from extreme to the next (sometimes in one scene) is quite profound and amazing to watch. While not as recognizable name as some of her costars, I think that Depp did an incredible job in Nosferatu, with her character portrayal of Ellen Hutter probably the best work she has done in her entire career thus far. Amazing job on her part.
Looking beyond those two, actor Bill Skarsgard gives an incredible (and weighty) performance in the movie as the story’s main antagonist character of Count Orlok / Nosferatu, an ancient nobleman from Romania and a vampire being that lusts after Ellen’s affection….body and soul. Known for his roles in IT, Barbarian, and John Wick: Chapter 4, Skarsgard has always been a great actor who really gets into his characters, knowing them inside and out and transforms himself into the character with great effectiveness. That was clearly the case that he did with enigmatic Pennywise in the duology IT films, fully embracing the horrific physical embodiment of such an iconic character and making such a memorable performance in the role. That same type of enthralling and almost mesmerizing affect that he had on Stephen King’s infamous literary horror is on full display in this movie, with Skarsgard performing such a great and terrible villain as the vampiric Nosferatu character. He absolutely does a great job in playing such a juicy bad guy character that he almost (and certainly does) outshines the rest of the cast and that’s a good thing, especially when he showcases the vile and villainous nature of his character’s power and determination. Plus, Skarsgard gives such an amazing and chilling sounding voice for Count Orlok that has plenty of ancient weight and sinister gravitas in his delivery of lines, with the added malevolent groans and laborious sound breathing. The character certainly can be classified as the “classic villain”, especially since he (Nosferatu himself) derives from Bram Stoker’s iconic characterization description of Dracula, but it is the way that Eggers positions the character in the movie and how the movie frames such a villainous being makes him truly memorable. It’s a credit to Eggers talent as well as the entire costume and hair / make up teams for bringing such haunting and anciently grotesque being to life in such a cinematic way that looks fantastic (and scary) to behold. Overall, I was highly impressed with Skarsgard’s performance as Count Orlok, projecting the right amount of screen presence and dialogue driven scenes that may him so formidable, imposing, threating, and just utterly memorable as the chief title of the feature. An absolute and complete 180-degree turnaround from his middling performance (and overall participation) in 2024’s abysmal remake of The Crow.
In addition to many leading characters of heroes and villains, Nosferatu also shines a light on some good character that play side roles in the feature. This is clearly visible in the role of Friedrich Harding, a wealthy shipbuilder and friend to Thomas and Ellen Hunter, who is played by actor Aaron Taylor-Johnson (Kraven the Hunter and Avengers: Age of Ultron). Taylor-Johnson does quite an adept job in playing this supporting character, adding to the layer of skepticism and confrontation to several characters in the feature as events in the narrative unfold. Much like the characters of Thomas and Ellen, we (as the viewer) show the slow decay into madness of such a character in Friedrich Harding and Taylor-Johnson does a solid job in providing the visual representation in that character. Perhaps the only character that sort of gets “shortchanged” in the movie is the character of Anna Harding, Friedrich’s pregnant wife, mother to Clara and Louise, and Ellen’s best friend, and who is played by actress Emma Corrin (Deadpool and Wolverine and The Crown). To be sure, the character is present in the movie and has to stuff to do here and there, but, in amongst the rest of the players in the story, Anna gets the least amount to do and delegated to being a dotting wife / mother to her children, and a few scenes of friendship with Ellen. Still, Corrin’s participation in the movie is indeed welcome and her acting talent is sure to be on display whenever the camera focuses on her. As a side-note, young actresses Adela Hesova (Zoo) and Milena Konstantinova (Zoo and 1. Mise) do a good job in playing the children of Fredrich and Anna, Clara and Louise respectfully.
The movie also gives some great supportive character performances in the story, with several key figures playing solid roles within their respective portrayals. Of this grouping, actor Willem Dafoe (Spider-Man and The Lighthouse) stands out the most in his portrayal of Professor Albin Eberhart Von Franz, a controversial Swiss philosopher and an expert alchemy, mysticism, and the occult. Dafoe has always been quite a gifted actor and his participation in Nosferatu is indeed a welcome one, providing plenty of great character dialogue driven moments that he easy chews through with a sublime touch. This, of course, matches the great written dialogue that Eggers provides for many of his characters and Dafoe does a fantastic job in playing that part well. The character of Von Franz is a bit conventional, especially since he does do a lot of expositional background info on who or what Nosferatu actual is, but I sort of figured that was going to be the case for the role. Likewise, the same is for the other two remaining supporting characters in the movie, which is found in Dr. Wilhelm Sievers, a physician doctor that tries to treat Ellen’s condition with modern medicine practices, and Herr Knock, the owner of Knock brokerage firm who sends Thomas to meet with Count Orlok, who are played by actors Ralph Ineson (The Green Knight and The Creator) and actor Simon McBurney (The Conjuring 2 and Tinker Tailor Soldier Spy). Both Ineson and McBurney are incredible gifted acting talents, and their delivery of lines are fantastic in the movie, which gives weight to the movie’s credence of being a dramatic period piece in those moments as well as providing plenty of substance within their respective characters. Loved both of them in the movie.
FINAL THOUGHTS
Seeking companionship long ago with an unknown force, Ellen Hutter reaps the whirlwind of such fanciful desires when her husband and several others are dragged into a conflict with the dread Count Orlok and his horrific desires to claim her for himself in the movie Nosferatu. Director Robert Eggers’s latest film takes stab (and bite) into the infamous take on legend that began back in 1922’s Nosferatu: A Symphony of Horror, offering his own spin on the gothic horror drama piece and infuses his own style and visual flair throughout the picture. The end result is truly captivating. While there are minor complaints to be had, those are just mere blemishes in comparison to the gripping and cinematically beautiful film that Eggers was able to achieve, especially when examining the director’s vision, fantastic dialogue, great atmospheric presence, a wonderful presentation throughout, and some truly great character performances from a solid cast. Personally, I really loved this movie, which is quite strange because I’m not one to be quite hooked on horror genre. Eggers’s meticulous attention to detail is greatly felt throughout the entire feature and it is truly amazing to behold. Everything seems to be working together and the final result is pure magic to watch and view in its entirety. Part period piece, part horror, and all gothic aesthetics, the movie is something worth watching and praising, with Eggers delivering an amazingly intrigue and engrossing tale. The cinematic feel of the feature is oozing with such foreboding and dramatic nature in its undertaking and some of the scarier elements work highly effective. Plus, I loved the cast in the movie. I know that there are a lot of fans of Eggers work, who will look at this movie with several differences of opinion (I know that many regard The Witch as his best work), but I think that this is my personal favorite of his body of work so far. As stated many times over, I’m not the biggest fan of horror movies, but Nosferatu is definitely up there as one of my favorite horror movies (alongside 2017’s IT). Thus, my recommendation for this movie is an incredible “highly recommended”, especially for fans of Eggers work, for fans of the horror genre itself, and yes even casual fans for moviegoers. Even in the terms of remakes, this one endeavor that is done correct and right way, which is all the more reason to be enthralled with this picture. In the end, Nosferatu is a captivating and engrossing dark gothic horror feature that has so much to offer within its theatrical appeal, passionate directorial work done right, atmospheric layering, fantastic acting talent involved, and the memorable devil that is in the cinematic details.
Also, as a personal side note, Nosferatu is my 775th movie review since I’ve started blogging. This is truly a huge and celebratory milestone for me! I wanted to give a special thank you to all my readers, followers, and fellow bloggers for reading my movie reviews and giving me this platform to share (with you guys) my views on cinematic tales.
4.7 Out of 5 (Highly Recommended)
The Official Website for Nosferatu Link: HERE
Released On: December 25th, 2024
Reviewed On: February 6th, 2025
Nosferatu 132 minutes long and is rated R for bloody violent content, graphic nudity, and some sexual content
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