Nosferatu – Movie Reviews by Ry!

Nosferatu – Of Blood and Bonds: A Gothic Tragedy

Through the creative eye, one can see many things.  With this vision, it becomes a pathway of passion where the arts showcase an endless array of wonder and delight.  For filmmakers, it becomes a way for something new, even in familiar things.  In this review, I look at the latest horror/remake to hit the big screen.  A new vision of a cult classic, it becomes an intriguing journey through the eyes of a visionary.  Through visual prowess, Nosferatu is an enrapturing horror of a gothic romance. 

In a tale of darkly outcomes, a young woman and a vampire must tangle with obsession and desires that will lead to a horror unlike any could imagine.  Through the eyes of a visionary, many things are possible.  From genre to genre, Robert Eggers (writer/director) always pushes forward with intriguing ideas that bring about visual aesthetics within tales of endearment.  With this latest, he brings about a new spin to a classic horror film.  In the beginning, a foreshadowed like prologue highlights the allure of a forbidden bond.  Once this is established, we move into the present that introduces the audience to newlyweds, Thomas (Nicholas Hoult) and Ellen (Lily-Rose Depp) Hutter.  We learn that Thomas is seeking to build a new life with his wife and attempts this by (through expositional filled conversations) taking on a task from his realty company to complete the sale of an old property in town.  This task involves him traveling to a castle in the Alps, where he is to complete the transaction (in person) with Count Orlok (Bill Skarsgard).  After leaving his wife to stay with friends, Friedrich (Aaron Taylor-Johnson) and Anna (Emma Corrin), Thomas begins to experience unusual things while interacting with the Count.  As things begin to weave through tense and crazed moments at the castle, this also parallels to some unusual behaviors and dreams experienced by Ellen.  This leads Thomas’ friends reaching out to Dr. Sievers (Ralph Ineson) and Professor Albin Eberhart von Franz (Willem Dafoe), to help figure out what is happening to Ellen.  As each scene continues down a path of tense and vile scenes, layers of truth come about that support an ominous connection between Ellen and the Count.  As we head down this unyielding journey, it builds through scenes of melodrama and gothic aesthetics.  The auspicious nature starts to unravel each person’s psyche, pushing forward strong moments that highlight the unbridled nature of human emotions.  As things lead through scenes of vile and disgust, the ironic directive warps these scenes in a personal obsession of the heart.  This ‘window’ through the merging of genres (horror/drama) creates a place where each character falls prey to the shadows of one’s own blinds, raising the film beyond the remake foundation and building towards a genuine tale of its own thematic allure of tragedy in fate.

As things continue down a path of wild moments and unexpected sequences, The connection between the Count and Ellen strikes a tone that seems unavoidable.  This bond creates more weight in the cast shadow, driving characters further into disarray.  As things start to lead to chaos (for the characters and the town), it builds towards a third act of woven thematic appeals in the rawness of one’s conviction.  The twist of fate leads to an unbridle climax and a requisite like epilogue.  Nosferatu is a remake that showcases a genuine twist of a creative vision.  If you are a fan of those involved, the director or like gothic tales, this is for you.  It isn’t for the faint of heart, but to me … it is worth the full price of admission. 

Full Score – 4 out of 5 (Full Price)