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For his fourth feature film, Robert Eggers (The Witch,The Lighthouse) has tackled one of the most influential horror films of all time:Nosferatu. While the film boasts the visual strengths that fans have come to love from the horror director,Nosferatu’s script lacks the hook it needs to differentiate itself from the plenty of otherNosferatuandDraculafilms that came before it.
NosferatuReview
Eggers has been working on his version of this classic vampire tale for years, meaning the level of anticipation from fans is incredibly high. Eggers’s reverence for Murnau’s film is obvious from how safe he plays it with his storytelling. It hardly defies the formula of the vampire genre, failing to form its own identity beyond its visuals.
WithNosferatu, Eggers is taking source material that runs 70-something minutes (give or take, depending on which restoration you watch) and turning it into a 133-minute film. For a horror picture to justify that long of a runtime — much less when the same story has been told before more concisely — there needs to be more depth, and this is where Eggers’s version comes up short.
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There are plenty of themes to be found in Bram Stoker’s source material, many of which have not been explored. Eggers really leans into the sensuality of the underlying story, but he does little to explore the connection between sex and psychology in society. There is also the possibility to explore ideas like the clash between xenophobia and cultural traditions, including superstition, which largely goes unaddressed. It’s ultimately just a straightforward retelling of a story that we have seen dozens of versions of before.
That being said, Eggers brings the same incredible eye and atmosphere toNosferatuthat has been his other films’ biggest strength, making it one of the most visually impressive horror films in quite a while. The production design, cinematography, costuming, and hair and make-up departments are all functioning at absolutely top form, creating an utterly immersive viewing experience.
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The other aspect ofNosferatuthat stands out and allows it to justify its existence is its cast. In his role as the salesman Hutter, Nicholas Hoult brings a vulnerability to the role that makes it feel fresh despite its archetypal nature. The character’s silent origins lend themselves to exaggeration, but Hoult manages to effectively rein it in. As the villainous Count Orlok, Bill Skarsgård delivers yet another transformative turn. Although it hardly ranks among the actor’s best work, he’s fun to watch with the single note he brings to the role.
The other notable performance in the cast comes from Lily Rose-Depp, whose performance is a bit more difficult to classify. It’s not the type of performance you would typically expect to be heralded as impressive, but she makes the most of her role. Despite spending long stretches of the film in a trance-like state of hysteria with minimal dialogue, Rose-Depp has such an enthralling presence that she absolutely commands the screen.
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Those three leads are surrounded by an ensemble that’s solid, albeit not particularly memorable. Simon McBurney has a few really haunting scenes, as doesWillem Dafoe, but neither of them has a big enough role to linger as much as the central trio. Aaron Taylor-Johnson, Emma Corrin, and Ralph Inseon are fine but pretty underwhelming because of how little the film asks of them.
IsNosferatuworth watching?
That being said, that’s ultimately the name of the game with Robert Eggers’sNosferatu. It’s certainly not a bad film — you can’t deny how aesthetically and atmospherically impressive the director’s work here is — but it leaves something to be desired narratively. If you’re willing to accept that this is just a beautifully shot but conventional vampire film, you will succumb to the darkness, but chances are you expect more from someone with Eggers’s level of talent.
Nosferatuhits theaters on December 25.
Nosferatu Review — Robert Eggers Makes a Visually Gorgeous but Narratively Safe Vampire Tale
Sean Boelman
Managing Editor for Film and TV
Articles Published :441
Sean is the Managing Editor for Film and Television, working to determine editorial strategy for the critics team. He has been on the FandomWire team since 2022.In addition to writing reviews himself, Sean helps match writers on the FandomWire team with assignments that best fit their interests and expertise.
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Aaron Taylor-JohnsonBill SkarsgårdEmma CorrinHorrorNicholas HoultNosferatuRobert EggersvampireWillem Dafoe
