Directed by Robert Eggers
Written by Robert Eggers, Henrik Galeen, and Bram Stoker
Starring Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, and Aaron Taylor-Johnson
Running Time 2 hours and 13 minutes
MPAA Rating R
In theaters December 25

by Rosalie Kicks, Old Sport & Editor in Chief

“You are not for the living.”

I’m somewhat of a Nosferatu myself. I’d go as far to say that Count Orlok and I come from the same dirt. Like two bats of a feather. Like my good friend Count von Count, let’s me add up the ways: aversion to sunlight, shadow skulker, food slurper, and top-notch slumberer. All of this to point out that I take my vampiric pal’s latest cinematic venture very seriously. It has been one hundred and two years since Count Orlok burst onto the silver screen, which gives much reason for pause. I would not fault someone for feeling that the mere idea of this film venture is blasphemous or unnecessary. In fact, my initial sentiments after watching the movie for the first time were somewhat lackluster. However, after much contemplation in my bunk (and a rewatch), I have have come to the realization that Robert Eggers’ Nosferatu is an exquisitely made gothic motion picture that deserves to see the light of day.

The story itself is a tale as old as time. With Eggers version, much of the core elements from Henrik Galeen’s Nosferatu: A Symphony of Horror (1922) plot remains with a sprinkling of Bram Stoker’s Dracula mixed in: a cadaverous figure seeking to relocate from the mountains of Transylvania to the bustling city. I have often described the entire plot of Nosferatu by just telling people to listen to the 1965 Petula Clark tune, Downtown. Life in isolation has left the Count quite lonely and he needs the music of the traffic in the city, to linger on the sidewalk where the neon signs are pretty and catch a movie show… downtown. (You can hear more about this on my podcast, Cinematic Crypt, episode 10 in which I dissected the 1922 silent picture, Nosferatu.) Where I see the story diverging from its silent predecessor is by having Ellen (Lily-Rose Depp) be part of his summoning. The two characters are more interconnected, which is in tune with Francis Ford Coppola’s Bram Stoker’s Dracula (1992). This is all to say that, even with the similarities to past renditions, Eggers manages to leave his own mark.

From the moment The VVitch (2015) graced my peepers, I have been a devoted follower of Eggers. I walked out of the cinema that day ready and willing to follow him into any darkened theater. It is hard to believe that The VVitch was a feature directorial debut, given the precision, care, and attention to detail. The mastery that was on display in his New England folk horror tale left me in awe. He continued his track record of exemplary filmmaking with The Lighthouse (2019) and The Northman (2022). It was in thinking about his previous work that made me realize that, with Nosferatu, he has made his most accessible work to date. This is not to be a slight on the work itself, but instead to say that I believe it was the reason for my initial disposition of being left wanting more.

On the surface, this outing has all the earmarks of his other films: the beautiful composition, meticulous set design and costuming, atmospheric lighting, and purposeful direction. Yet, there is something different this time around. The picture has an overall slickness to it that, for me, oozes Hollywood meddling. There are plenty of elements of an artist on display, particularly with the use of shadows to convey a hauntingly spooky tone. I equally enjoyed Hutter’s arrival to the Transylvanian village and his encounter with the eccentric inhabitants (I need the full story on the laughing villager, post haste). Or the way in which the carriage arrives to retrieve Thomas Hutter (Nicholas Hoult) and take him to Count Orlok’s (Bill Skarsgård) castle. These are all moments that I will carry around with me long after the credits rolled. Still, there were more times in which I felt the film was trying too hard and lost itself to excess. Rather than showing me blood and guts, let my imagination do the work. I loved how long it took for me to actually see Count Orlok. The anticipation of the first glimpse made the reveal that much more effectively chilling, much like hearing Count Orlok devour his victim was more impactful than actually seeing it.

In terms of acting, I could not help but pine for the movie that would have starred Anya Taylor-Joy in the part of Ellen Hutter. I believe it was a lot to ask of Lily-Rose Depp to take on the lead in this film and the weight of that responsibility seemed to hinder the performance. Skarsgård appears invisible as Count Orlok given the make-up and prosthetics. As much as I found the voice to be a bit distracting, I shall not be filing a complaint about the Vlad the Impaler-esque mustache or the Count’s bunk and regal jacket. Hoult delivers a solid portrayal, but appears to be attempting to make more out of the role than is there. While Willem Dafoe as Professor Albin Eberhart von Franz aka vampire expert, comes off as a pipe wielding (of course he has a pipe) caricature simply existing to lighten the mood. To me, the standout was frequent flyer in Eggers productions, Ralph Ineson as Dr. Wilhelm Sievers.

My expectations could not have been higher the night I sunk into the theater seat to view this motion picture. Nosferatu is most certainly my least favorite production from Robert Eggers and, despite this, the more I sit with the film I find my appreciation of it growing. Maybe it is my affinity of F.W. Murnau’s interpretation, or the fact that I am head over heels with Max Schreck’s somewhat endearing representation of a bloodsucker. My heart may have a spot for this latest outing, but I truly believe it will never truly sink its teeth in me.

Check MovieJawn’s events page here for information on our movie meet-up December 28 in Philadelphia to watch Nosferatu, in partnership with film club Girls Like Horror.