Nosferatu: Eggers’ reboot has teeth but doesn’t entirely go for the jugular

Set in the mid-1800s, Nosferatu follow real estate agent Thomas Hutter (Nicholas Hoult) the young husband of Ellen (Lily-Rose Depp) who is asked by his work to secure a sale for a decrepit castle owned by the reclusive Count Orlok (Bill Skarsgard). As Thomas approaches Orlok’s home, he is warned of the evils yet he must continue his pursuit for the sake of his job. While horrified at what he encounters, Thomas’ world is shaken even further when he discovers the dark connection between Orlok and his new bride, leaving him broken.

To put it bluntly, Nosferatu is unbelievably stunning to behold visually. While it may sound like hyperbole, Eggers has truly offered a masterclass in cinematography and set design. Every detail here is crafted with such detail and care that one cannot help but be enthralled by its look and fee. Eggers has created a piece that emulates the classic vampire stories from long ago. The harshest of environments leans into the German Expressionist original. Exteriors in Romania give the film an authentic feel in the midst of otherworldly atmospheres. Even as a remake, this feels like a filmmaker at the top of his game.

What’s more, the cast also delivers as well. These sorts of ethereal films require a unique style of performance that feels both authentic and distant. Even so, the work from Hoult, Depp and Aaron Taylor-Johnson never feel out of place in this strange new world. Even Eggers’ veteran Willem Dafoe provides some much-needed comic relief without becoming distracting. But, without question, the performance by Skarsgard shine most brightly.

As Count Orlok, Skarsgard is completely unrecognizable, not only because of the outstanding make-up job but by the brutality of his performance. His gruff, terrifying growl sends chills down the spine. Every engagement with other characters feels like an animal, slowly circling his prey. In every way, he is a threat. His portrayal of the Count is vicious, volatile and entirely immersive. 

What’s most interesting about Nosferatu though is that it never leans into modern techniques to horrify its viewer. Like the classic monsters of old, Eggers wants the viewer to be terrified by the ‘feel’ of his world, as opposed to any particular ‘jump scares’. Films like Paranormal Activity, The Nun or The Conjuring require moments of unexpected fear to make the audience feel as though they’ve spent their money well on a ticket. 

But Eggers has no such plans.

Similar to Eggers’ The Lighthouse, Nosferatu unfolds at its own pacing and time. As viewers, this is a film that wants us to be uncomfortable from the opening frames. Cameras remain static, unless Eggers is slowly turning them on their axis. (This has become a staple of Eggers’ work.) Unless being pursued, characters inch through the screen with intentionality. As a result, this feels like classic horror at its most pure, a film that understands that the scariest aspects of humanity are those that keep us unsettled.

But it could also be argued that this is where the Count loses his bite.

Despite brilliant performances and outstanding set design and cinematography, one can’t help but wonder what inspired the Lord of Darkness’ return. At a time when elevated horror has brought out the best in the genre, Nosferatu feels like a missed opportunity. Within the realm of vampires, there are ample angles and themes that prove relevant today but Eggers’ film simply feels directionless. Embedded within this dazzling and unsettling world of horror are conversations about sexual assault, the nature of evil and even the pandemic, yet somehow none of these themes seem to come fruition. (To be fair, the tension within one’s soul to submit to the darkness is the most established yet even that never feels fleshed out fully.)

To resurrect Count Orlok in this way suggests that there’s a reason to do so. Nevertheless, post-screening, few people that I spoke to could answer that question either. (In fact, the most common answer that I found was that “Eggers obviously loves the franchise.”) But, to this critic, a film this impressive to witness can’t simply justify its existence due to ‘fandom’ if it wants to truly elevate to the next level. As such, I can’t help but believe there’s something missing when you truly open Orlok’s tomb. Even though this is a film that really does have teeth, it still feels like it doesn’t go for the jugular.

Nosferatu is available in theatres on Wednesday, December 25^th, 2024.