"A gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake." 

OUR MOVIE REVIEW:

Robert Eggers’ long-awaited remake of Nosferatu arrives as a visually stunning, hauntingly atmospheric reinterpretation of the 1922 silent classic. A true passion project for the filmmaker, Eggers brings his signature meticulousness to the screen with impressive results in cinematography, set design, and costuming. The film is undeniably a visual feast, with a masterful use of shadows and light that recalls German Expressionism while feeling distinctly modern. Yet, for all its visual splendor, Nosferatu struggles to fully sink its teeth into audiences, weighed down by uneven pacing and surface-level storytelling.

The cast is solid across the board, with Bill Skarsgård embodying Count Orlok with an unsettling presence that feels appropriately monstrous yet human. Lily-Rose Depp as Ellen Hutter brings a quiet fragility that contrasts nicely with Nicholas Hoult’s determined yet subdued Thomas. Willem Dafoe, Aaron Taylor-Johnson, and Ralph Ineson round out the ensemble with strong performances, but none truly have the opportunity to stand out. While the performances are uniformly fine, the film’s hurried pacing often undermines moments that could have allowed these characters to breathe and deepen the audience’s investment in their fates.

Eggers’ Nosferatu has a runtime of 2 hours and 13 minutes, and yet it feels paradoxically overstuffed and rushed. Scenes that could have benefited from lingering just a bit longer are abruptly cut, while others feel unnecessary or repetitive. The film tries to strike a balance between honoring the original’s eerie simplicity and expanding its narrative to fit a modern audience, but in doing so, it struggles to fully achieve either. This imbalance creates a sense of detachment, leaving the viewer appreciating the craft but yearning for more substance beneath the surface.

The exquisite production design and Robin Carolan’s evocative score highlight Eggers’ strengths as a director, but they aren’t enough to disguise the film’s lack of narrative innovation. While Nosferatu is far from a failure, it doesn’t fully justify its existence as a remake. It feels more like a reverent tribute to Murnau’s original and, by extension, Bram Stoker’s Dracula, rather than a fresh take on the material. Fans of Eggers’ previous work may find much to admire here, but they might also leave wanting more risk and originality.

Ultimately, Nosferatu is a beautiful yet frustrating film. It offers a masterclass in visual storytelling but falters where it matters most: in pacing and depth. Eggers’ passion for the project is clear, but the final product feels restrained, as though it had to conform to external pressures rather than fulfilling its potential. While it’s worth a watch for the visuals and Robin Carolan’s haunting score, it’s hard not to wonder what Nosferatu could have been if it had dared to take a few more chances.