Nosferatu - 2024
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I think there was a lot of good stuff in this, it's nicely gothic, the locations and costumes are great, Willem Dafoe is on fire.
The story is the same story we've seen dozens of times though and there wasn't quite enough of a new take on it to justify it.
There's an attempt to go in a different direction with Ellen, her past and her relationship to Orlock but it's fudged a bit.
The horror is 90% heavy breathing with occasional squelchy bodily fluids and a whole lot of rats. I was bored of rats and eye rolling possession scenes by the end.
The vampire's castle is very well done, the dark scenes are well done. There's a whole lot of atmosphere. Not a while lot of fun though. Except when Willem Dafoe is on screen.
The story is the same story we've seen dozens of times though and there wasn't quite enough of a new take on it to justify it.
There's an attempt to go in a different direction with Ellen, her past and her relationship to Orlock but it's fudged a bit.
The horror is 90% heavy breathing with occasional squelchy bodily fluids and a whole lot of rats. I was bored of rats and eye rolling possession scenes by the end.
The vampire's castle is very well done, the dark scenes are well done. There's a whole lot of atmosphere. Not a while lot of fun though. Except when Willem Dafoe is on screen.
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Well, I thought it was very good.
It started out giving me the vibe that it was going to be well-made but too conventional. Once we get to the village that starts to change and during Thomas' time in the castle Eggers really flipped it on me and I was sucked in enough that I didn't even wanna go to the bathroom for fear of missing something cool (which I eventually did and missed the scene I'd been waiting for the whole movie). The way he used cinematography and edits to make me feel like reality was bent toward Orlon's will in and around the castle and that I was trapped in the castle myself was pretty masterful.
I thought Skaarsgard and Eggars did an excellent job with The Count. I didn't feel like I was gonna buy into him (particularly with a mustache even though that's how he's described in the book) and by the end I was thinking that they had created a great villain.
I really enjoyed how dark and bleak they made the film. Eggars pulls no punches here really (though also doesn't try to throw to many haymakers) in the sense of how much damage The Count can and will do and the way that what Orlok really seems to bring is ruin.
If the film stubs its toe at all, in my opinion that would be Lily Rose-Depp. I haven't seen her before and a third of the way through the movie she had become an actual distraction to me. By that point all I could think "Nepo Baby". And I'm usually not the police about that. But I thought at times that the other actors must have been cringing inside when they had scenes with her. It seemed to improve a bit by the end and I at least wasn't distracted by it but early on, sheesh.
Overall I don't think I can go lower than 4 popcorns or stars or whatever for it but I'm not sure if it gets more or not and how much.
It started out giving me the vibe that it was going to be well-made but too conventional. Once we get to the village that starts to change and during Thomas' time in the castle Eggers really flipped it on me and I was sucked in enough that I didn't even wanna go to the bathroom for fear of missing something cool (which I eventually did and missed the scene I'd been waiting for the whole movie). The way he used cinematography and edits to make me feel like reality was bent toward Orlon's will in and around the castle and that I was trapped in the castle myself was pretty masterful.
I thought Skaarsgard and Eggars did an excellent job with The Count. I didn't feel like I was gonna buy into him (particularly with a mustache even though that's how he's described in the book) and by the end I was thinking that they had created a great villain.
I really enjoyed how dark and bleak they made the film. Eggars pulls no punches here really (though also doesn't try to throw to many haymakers) in the sense of how much damage The Count can and will do and the way that what Orlok really seems to bring is ruin.
If the film stubs its toe at all, in my opinion that would be Lily Rose-Depp. I haven't seen her before and a third of the way through the movie she had become an actual distraction to me. By that point all I could think "Nepo Baby". And I'm usually not the police about that. But I thought at times that the other actors must have been cringing inside when they had scenes with her. It seemed to improve a bit by the end and I at least wasn't distracted by it but early on, sheesh.
Overall I don't think I can go lower than 4 popcorns or stars or whatever for it but I'm not sure if it gets more or not and how much.
If the film stubs its toe at all, in my opinion that would be Lily Rose-Depp. I haven't seen her before and a third of the way through the movie she had become an actual distraction to me. By that point all I could think "Nepo Baby". And I'm usually not the police about that. But I thought at times that the other actors must have been cringing inside when they had scenes with her. It seemed to improve a bit by the end and I at least wasn't distracted by it but early on, sheesh.
I didn't understand the ending. I watched two YouTube videos which try to explain it, but still left me with questions.
WARNING: "questions" spoilers below
Clearly Orlok wanted to die while laying on top of Ellen, so obviously there must be something special about Ellen, otherwise he wouldn't have gone through all the trouble of moving from Transylvania across the sea, etc. The movie Bram Stoker's Dracula (1992) (a better all-around movie, imo) was much clearer about what made Mina special (she was the reincarnation of Elisabeta, Dracula's wife).
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I was disappointed. It doesn't add anything to the world of Nosferatu (some might say it's a straight remake so why does it need to add anything? If that's the case why is there a need for a remake?).
I don't think any of the acting was very good, Depp, Hoult and Ineson were all very weak. Only Willem Dafoe was convincing. The only real plus point is some of the cinematography is really lovely.
The original is far, far better. Herzog's is also better.
This was a real mistep in Eggers' filmography for me. Not anywhere near The VVitch or The Lighthouse. He just seems to work better with small ideas and small budgets. I really hope Hollywood doesn't ruin him.
5.5/10
I don't think any of the acting was very good, Depp, Hoult and Ineson were all very weak. Only Willem Dafoe was convincing. The only real plus point is some of the cinematography is really lovely.
The original is far, far better. Herzog's is also better.
This was a real mistep in Eggers' filmography for me. Not anywhere near The VVitch or The Lighthouse. He just seems to work better with small ideas and small budgets. I really hope Hollywood doesn't ruin him.
5.5/10
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Lemme switch that rating. Sorry, but...
WARNING: "spoiler" spoilers below
All Van Helsing did is ask a couple questions and get arrested, Lucy had basic Mina development, and Renfield never got lived up to. Herzog spent more time admiring gothic imagery at a sluggish pace than developing ANY plot.
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My take:
This was just ok. For a movie titled Nosferatu we don't actually see a lot of the long suffering undead count. The movie concentrates on other characters way too much in my opinion especaily Ellen and for some reason Frederich. A very strange focus. The look and atmosphere of the movie are its strong points but this can't overcome the poor narative of a story which has been told once too many times. Watch Coppola's 1992 Dracula for a much better story. 6.5/10
This was just ok. For a movie titled Nosferatu we don't actually see a lot of the long suffering undead count. The movie concentrates on other characters way too much in my opinion especaily Ellen and for some reason Frederich. A very strange focus. The look and atmosphere of the movie are its strong points but this can't overcome the poor narative of a story which has been told once too many times. Watch Coppola's 1992 Dracula for a much better story. 6.5/10
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I read it was only four extra minutes. Not really worth the extension.
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If you're going to approach it from a child's point of view then it kinda changes the topic of discussion, doesn't it.
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I really enjoyed this. A lot for the atmosphere and Eggers-ism. It’s not perfect, but on its own terms a really well executed movie I think.
Nosferatu
A vampire with a mission brought to life by a man with a vision!
Perhaps, admittedly, a silly and flashy rhyme just for the hell of it but at least my headline is better than Nosferatu’s hairline. So there’s that. Uh, anyway…
What is instantly noticeable about Robert Eggers’ Nosferatu is the way it absolutely reeks with atmospheric unpleasantness throughout, which is perfectly pleasing to the eye but piercingly cold on the soul. As it should be. There’s great respect here for both the era and the eerie, respectively.
The film is filled with arresting imagery and has ambience in abundance. Together with great patience and great sound design, the ugly but elegant visual appearance penetrates your body like an iron stake, all the while you succumb to a director’s cunning yet uncompromised vision.
Rarely have I witnessed a film that is so heavy and thick on atmosphere simultaneously feel so pure and light on its feet. The elegance is eminent from the start and no matter how disturbing it all becomes by the end, it never loses that elegance. That is something to admire.
Nosferatu is many things. An honorable homage, a riveting remake, a menacing ménage à trois and a sick but sensual beauty-and-the-beast-like gothic fairy tale. It is a tale of desire, love, longing, life and death. There’s a great sense of isolation and an immediate feeling of fear creeping forward.
The way that Eggers balances beauty with bloody carnage and caresses the darkness so clearly that the night has never looked brighter than it does here, really sells the invitation to step into this world that he is creating. A dreamy nightmare presenting itself like some sort of cinematic sleep paralysis.
All of his movies usually have a bleak madness about them that is very commanding, as well as a disturbing take on desire - both sexually and spiritually - all of which is quite confronting in a way. Sometimes maybe too confronting. But once again it all adds to the overall vision of a director who knows what he wants. And takes it.
And despite a more uneven second half than an otherwise very strong first half, I was ever so mesmerized by the moustache sporting and heavy breathing Bill Skarsgård in the iconic role of Nosferatu. Both the air and the time seemed to freeze the second his presence became known.
The sheer unearthly unpleasantness of it all took total dominion at its disturbingly best, while Bluetooth-sucking the blood from my veins making me as icy cold as the all-covering and all-commanding moonlight throughout the film… probably the brightest non-black-and-white black and white film since forever.
So even despite some unevenness throughout, the best scenes in here are deliciously dread-infused and fear-induced perfection, containing dead on direction and head on harrowing imagery for the body, mind and soul. Like a (un)wellness retreat for the senses. Get comfortable in your coffins, people!
Nosferatu
A vampire with a mission brought to life by a man with a vision!
Perhaps, admittedly, a silly and flashy rhyme just for the hell of it but at least my headline is better than Nosferatu’s hairline. So there’s that. Uh, anyway…
What is instantly noticeable about Robert Eggers’ Nosferatu is the way it absolutely reeks with atmospheric unpleasantness throughout, which is perfectly pleasing to the eye but piercingly cold on the soul. As it should be. There’s great respect here for both the era and the eerie, respectively.
The film is filled with arresting imagery and has ambience in abundance. Together with great patience and great sound design, the ugly but elegant visual appearance penetrates your body like an iron stake, all the while you succumb to a director’s cunning yet uncompromised vision.
Rarely have I witnessed a film that is so heavy and thick on atmosphere simultaneously feel so pure and light on its feet. The elegance is eminent from the start and no matter how disturbing it all becomes by the end, it never loses that elegance. That is something to admire.
Nosferatu is many things. An honorable homage, a riveting remake, a menacing ménage à trois and a sick but sensual beauty-and-the-beast-like gothic fairy tale. It is a tale of desire, love, longing, life and death. There’s a great sense of isolation and an immediate feeling of fear creeping forward.
The way that Eggers balances beauty with bloody carnage and caresses the darkness so clearly that the night has never looked brighter than it does here, really sells the invitation to step into this world that he is creating. A dreamy nightmare presenting itself like some sort of cinematic sleep paralysis.
All of his movies usually have a bleak madness about them that is very commanding, as well as a disturbing take on desire - both sexually and spiritually - all of which is quite confronting in a way. Sometimes maybe too confronting. But once again it all adds to the overall vision of a director who knows what he wants. And takes it.
And despite a more uneven second half than an otherwise very strong first half, I was ever so mesmerized by the moustache sporting and heavy breathing Bill Skarsgård in the iconic role of Nosferatu. Both the air and the time seemed to freeze the second his presence became known.
The sheer unearthly unpleasantness of it all took total dominion at its disturbingly best, while Bluetooth-sucking the blood from my veins making me as icy cold as the all-covering and all-commanding moonlight throughout the film… probably the brightest non-black-and-white black and white film since forever.
So even despite some unevenness throughout, the best scenes in here are deliciously dread-infused and fear-induced perfection, containing dead on direction and head on harrowing imagery for the body, mind and soul. Like a (un)wellness retreat for the senses. Get comfortable in your coffins, people!
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