By Keith Walther | Rose Law Group Reporter
One of the most hyped and anticipated horror films of the year is a technical masterpiece that comes up short in the storytelling department. “Nosferatu” is the latest adaptation of the legendary novel “Dracula” by Bram Stoker and a remake of the original 1922 classic film of the same name. This time, it’s the stylistic filmmaker Robert Eggers providing his unique take on the familiar story.
Before she met and married Thomas Hutter (Nicholas Hoult), Ellen (Lily-Rose Depp) was a troubled young lady who had inadvertently awakened a dormant evil with an insatiable appetite. Count Orlok (Bill Skarsgård), drawn by her irresistible pull, invades her mind and spirit, linking the two of them in an inevitable embrace. Thomas, yearning to break the curse and plague that has washed over his wife and the German city, seeks help from his best friend Friedrich Harding (Aaron Taylor-Johnson) and Professor Albin Eberhard von Franz (Willem Dafoe) to find a way to vanquish this horrible vampire before it’s too late.
“Nosferatu” is the fourth feature film Robert Eggers has directed, the previous being “The Witch,” “The Lighthouse,” and “The Northman.” He has quickly developed a distinct visual style that has made his work stand out in a creative way. This film is a showcase of that style, bringing stunning visuals and impressive cinematography that is both visceral and beautiful. The set design, costuming, and makeup all contribute to the unforgettable display, whether it is the industrious early 19th century German city or the bleak, oppressiveness of the medieval Romanian castle. The sound effects and score Eggers employs only heighten the sense of uneasiness, culminating in a film that will likely achieve multiple Oscar nominations in the visual and technical categories.
Like previous Eggers’ films, however, the storytelling is bogged down by a plodding pace that makes the film feel longer than its two plus hour runtime. The problem is he gets too enamored with crafting these artistically surreal scenes that put a majority of the film in a prolonged nightmare type state that make viewers question the reality of anything being depicted. This also minimizes the level of horror with only a few well-timed jump scares and squirming visuals to pump up the adrenaline.
The performances from the cast are exceptional from top to bottom and breathe life into these characters, but one performance stands above the rest. Lily-Rose Depp is sensational in the lead role, dynamically alternating between a loving wife plagued with visions of horror to a state of demonic possession that sends chills up the spine. The daughter of Johnny Depp is most certainly worthy of an Oscar nomination for this mesmerizing portrayal of seductive terror.
Bill Skarsgård is a natural fit in this titular, antagonist role, having previous experience in a similarly iconic role as Pennywise in the two “It” films. Bill worked extremely hard in preparation for this role, altering his voice for six weeks prior to shooting to provide that guttural, unnerving tone that seemingly pierces the soul. He became so intensely in tune with this character that he terrified himself, making him want to avoid playing something this evil ever again. His and Depp’s passion light up the screen, truly intertwining their characters in this lethally macabre dance.
The other standout performances from the supporting cast compliment the leads nicely. Nicholas Hoult has had a banner year with notable performances in “The Order” and “Juror #2” earlier this year. He’s a bit less impactful here than in those films, but he still displays surprising depth that connects viewers to his character. Willem Dafoe unsurprisingly portrays his odd character effortlessly, imparting his wisdom and perspective on initially unwilling listeners until his crazed teachings come to life. This is the third collaboration between Dafoe and Eggers.
This is not the film of the year or even the best horror of the year that it’s being hyped up to be, but the breathtaking visuals and acting performances should garner plenty of Oscar attention. “Nosferatu” is definitely worth seeing on the big screen, but don’t expect bone chilling terror. “The Lighthouse” is still Robert Eggers’ finest film to date, and “Bram Stoker’s Dracula” from 1992 is still a better adaptation of the notorious bloodsucker.
This movie earns:
