In an effort to extend the type of movies I gravitate to, I decided to check out Robert Eggers’ Nosferatu. I was surprised by this movie in many ways, it’s a haunting reimagining of the classic tale, offering a mesmerizing dive into gothic horror. The film excels in its atmosphere, with meticulously designed sets, costumes, and cinematography that create an eerie, visually stunning experience. From shadowy castles to fog-laden landscapes, every frame of this film feels like art and a passion project, embodying the Victorian gothic horror aesthetic to chilling perfection.

However, the acting is where the film stumbles. While most performances are fine and serviceable, there’s an inconsistency that kept me from total immersion. Moments of brilliance shine through, my favorite being Simon McBurney’s flawless portrayal knock, which anchors the film with gravitas for me. Bill Skarsgård as the infamous Count is unsettling and deeply committed to the role. However, his physical transformation and performance almost become too distracting – ironically pulling focus from the role itself. I know it’s crazy to say that about a good performance but I knew it was him in the role, yet not recognizing him was distracting. At one point I even wondered if his brother Gustaf was the count and that he would come in later. Aaron Taylor-Johnson and Willem Dafoe deliver compelling solid performances, adding much-needed depth. In contrast, Emma Corrin’s subtle performance nearly slips under the radar, a testament to their range but also a missed opportunity for greater presence.

Despite these issues, Eggers’ craftsmanship and respect for gothic horror elevate Nosferatu beyond its uneven performances. The film feels steeped in dread and obsession, faithfully channeling its source materials while breathing new life into a familiar story. It’s a chillingly beautiful homage to both Stoker’s novel and Murnau’s 1922 silent classic, one that lingers in the mind like a shadow cast by flickering candlelight.

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