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Nosferatu Review: A Grisly Gothic Vampire Remake

It’s difficult to fathom that the original Nosferatu A Symphony Of Horror (1922) is more than a century old, but that’s a testament to how far the cinematic medium of art has progressed. There have been several remakes and reimaginings of both Nosferatu and Bram Stoker’s Dracula in the decades but how does Robert Eggers’ take compare to all that’s come before? Well, it’s definitely one of the best modern vampire movies out there.

Bloodsucker

In the last few decades, vampires have been romanticised and perverted by the likes of An Interview With The Vampire and Twilight. Vampires were no longer depicted as grotesque and eerie creatures of the night that they are, with rare exceptions. That is why it is a delight to once again see vampires as horrific and reviled as they should be in Robert Eggers’ Nosferatu.

Robert Eggers’ best effort remains arguably his first, 2015’s The Witch. In the decade or so since then, Nosferatu is the next closest thing to being a sort of successor to that movie. Nosferatu is a triumph of Gothic imagery and cinematography, with almost every scene as deliciously dreary and bleak. It’s not too dark either, which is a problem that sometimes horror movies (or recent modern movies in general) suffer from. Nosferatu is dark and Gothic, but you can see everything clearly, which is proof of how proper lighting and cinematography are essential in any movie.

It’s a general rule that horror movies shouldn’t be close to or longer than two hours. Despite being a bit more than two hours long, Nosferatu doesn’t feel draggy or suffer from any pacing issues. Even movies like Francis Ford Coppola’s Bram Stoker’s Dracula (1992) had tonal and pacing problems. Nosferatu manages to retain its extremely atmospheric, eerie and creepy vibe from beginning to end. No Keanu Reeves with a fake accent to break immersion here.

The performances are excellent all around but the biggest praises should be given to Bill Skarsgard as Count Orlok (with his booming voice and frightening demeanour, just like when he played Pennywise The Clown in Stephen King’s It), Willem Dafoe as Albin Eberhart Von Franz and most surprisingly of all, Lily Rose-Depp as Ellen Hutter. She’s been in some stinker roles before (especially 2023’s The Idol) so it’s a pleasure to finally see her deliver a great performance. The rest of the supporting roles are well-acted as well.

Perhaps the few flaws of Nosferatu are that it plays too safe when it comes to the story and plot. It’s the same familiar and predictable narrative of a Dracula adaptation that we’ve grown accustomed to. There’s nothing much here that can be considered new or pushing the genre beyond its limits. If you’ve seen a Dracula movie before, Robert Eggers simply follows the same beats without taking much risk.

Return To A More Classic Vampire

It comes as no surprise that Nosferatu turned out to be Robert Eggers’ most financially successful movie to date. It’s well-deserved and a cinematic masterwork that’s worth watching by any self-proclaimed horror fan, especially after recent weak vampire movie disappointments such as 2024’s Salem’s Lot remake.

FINAL SCORE: 80/100

Nosferatu is now available on Digital.

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