Ushered in with shadows, obsession and a powerful beckoning, one of the most anticipated films of 2024 has finally arrived. That’s right, the long awaited “Nosferatu” from Robert Eggers is set to hit theaters on Christmas Day, and I am happy to report that it is more than worth that wait. More than that, while it does fall short in a few places, it mostly exceeds expectations, bound to be one of the most beloved reimaginings in recent memory. Powered by a terrific cast and masterful craft from Eggers at the helm, “Nosferatu” relishes in the darkness, delivering a gorgeously creepy and haunting take on one of cinema’s most beloved tales. It is the most Eggers’ film of his career and I mean that as a compliment. All of his strengths are poured into “Nosferatu” to create a consistently unsettling, sometimes funny, strangely romantic but wholly macabre visual feast.
Written and directed by Eggers (“The VVitch,” “The Lighthouse,” “The Northman“), “Nosferatu” sticks relatively close to the source material, largely following the 1922 German silent film of the same name. The unauthorized reimagining of Bram Stokers‘ 1897 novel “Dracula,” the film is a gothic tale of obsession, where a young woman Ellen Hutter (Lily Rose-Depp) is tormented by her nightmares and visions that are brought on by Count Orlok (Bill Skarsgård), a terrifying vampire who is obsessed with her and wishes to take her as his bride. The psychological infatuation begins to leave unheralded horrors in its wake, deeply effecting her husband Thomas (Nicolas Hoult), their close friends Friedrich and Anna Harding (Aaron Taylor-Johnson and Emily Corrin) and the need for the maligned and rather strange Prof. Albin Eberhart Von Franz (Willem Dafoe). As Count Orlok becomes more and more bold in his pursuit, the whole town will suffer the wrath of a monster as those closest to Ellen try to protect her and find a cure before the darkness consumes them all.
If there’s one thing Eggers knows best, its period. No one does period pieces quite like Eggers, who always goes above and beyond to deliver a wholly engrossing atmosphere and language and production design that feels ripped straight from the early 19th century. “Nosferatu” thrives in its visuals first; constantly exciting, consistently thrilling and an ever current of fear that takes hold and never lets go. The way cinematographer Jarin Blaschke plays with shadows, dimly lit corridors, and hypnotic atmosphere overwhelms the screen and sustains its haunting narrative. It creates the cold chill of death and terror around every corner, and whenever something feels like it may start to be settling in, Eggers and his crew rip any sense of comfort for your eyes and thrust you back into the darkness that surrounds everything. In a year of boundary pushing cinematography and visuals, it hangs with the best of them.
The second pillar of success is the cast, who are all dialed in with complete abandon. Hoult is having a banger year, between this, “Juror #2,” and “The Order,” all of which demonstrate just how varied his work and smart his choices are. Though he’s not given as much to do as others, he is still excellent. Willem Dafoe proves he is an Eggers’ muse, a man who completely understands the director’s famed language and delivers the much needed comic relief with uncanny ease. The real stand outs are Taylor-Johnson (who reminds us that despite big budget bombs they aren’t his fault and he’s actually a strong magnetic presence) and Lily Rose-Depp who makes a statement in “Nosferatu” as a legitimate performer. Channeling her inner Isabelle Adjani from “Possession, ” Rose-Depp shoulders the psychological terror and physical demand of a woman in torment with all the savoy of a veteran. 2024 is also a year of breakout performances, this film boldly adding Rose-Depp to the list. And of course, I’d be remised if I didn’t talk about Skarsgård’s unrecognizable transformation as Count Orlok.
I assure you the mystery surrounding his look and sound are well served for their effectiveness, and the less you know about his look the better. Don’t let someone spoil it for you; go in blind because what Skarsgård is doing is worth experiencing for the first time on the big screen all at once. He is completely transformed and unrecognizable, exactly the kind of makeup/effects artistry you crave when creating a repulsive monster like Orlok. It lends to all of the horror without ever being egregious, giving only glimpses of the grotesque beast to keep on the edge for the full reveal, then unleashing its nightmare fuel visuals when it has you in its grasp with your eyes unable to look away.
It is all tied together with a booming score that perfectly captures the essence of “Nosferatu’s” constant dread. There is a sense of repetitiveness from scene to scene, with the build up being constantly punctuated by fade to blacks and a rather straight forward narrative under the period accurate candlelight and prose. It’s not enough to deter the enjoyment of “Nosferatu,” but it does start feel as if the final conclusion may never come and with little variance in its journey, starts to waver in its terrifying call of darkness. It’s impeccable craft that gives us a devious, demented descent into madness that overshadows these small misgivings at almost every turn, delivers a true horror fans’ delight and is a perfect fourth entry for Eggers’ heads.
The technical elements paired with a tremendous cast make “Nosferatu” one of the best films of the year, a perfect holiday romance for the sickos and well worth the long wait. The longer it holds you, the longer you lean forward and engage with its unsettling atmosphere, the longer you marvel at its stunning visuals and terrific cast and let the score lull you away into the haunting terrors that await you, the more impossible it becomes not to succumb to the darkness.
Also, I think it’s time to take Lily Rose-Depp seriously. She’s got all the juice here, enough to forgive her for “The Idol.” I’m buying Rose-Depp stock now.
“Nosferatu” is in theaters Christmas Day. You can watch the trailer below.
