The Media Tourist

New remake of the original vampire flick stirs up chills anew.

Nosferatu
Starring Lily-Rose Depp, Bill Skarsgård, Nicholas Hoult & Willem Dafoe
Directed by Robert Eggers
Rated R

In theaters Wednesday, Dec. 25

A beautiful bride becomes a ravenous obsession for a monstrous vampire in this spectacularly spooky spin on an old, oft-told tale.

How old, and how oft-told? Well, the original Nosferatu was a silent movie back in 1922, long regarded the first vampire film. It was based on the novel Dracula, by Bram Stoker, from the late 1800s. That story, and that movie, are both lauded as groundbreaking masterpieces, launching multitudes of other movie offshoots over the next century. Now this new, supremely crafted creepshow stirs up the terrifying roots of the classic story with chills anew, pouring on a moody megadose of gloomy Gothic doom, dark red blood and gasp-y (sometimes ghastly) arousal to offset all your cozy holiday feelings of comfort and joy.

Lily-Rose Depp (yep, Johnny’ Depp’s model-turned-actress daughter) is Ellen, the young newlywed suffering from unsettling nightmares and violent seizures. Her husband, Thomas (Nicholas Hoult) is a London real estate agent sent to faraway central Europe to arrange for a new home for the mysterious—and chilling—Count Orlock. (Though it’s never mentioned by name, a glimpse at an upside-down map notes the region as “Transylvania.”) And guess where Orlock wants to relocate? Yep, in London, just down the street from Ellen and Thomas.

Is Ellen sick with worry for her traveling husband? Or maybe distempered with melancholy, perhaps even possessed? Her friends (The Crown’s Emma Corwin, and Aaron Taylor-Johnson) are concerned, puzzled, and unsettled by her troubling spells. During Thomas’ absence, they summon the local doctor (Ralph Michael Ineson), who eventually calls on a scholarly professor of all things ancient and occult-y (Willem Dafoe, perfectly cast).

Soon enough, the prof gets a pungent whiff of what’s up. Turns out the count (Bill Skarsgård) is a vampire with an appetite for blood—and a beyond-the-grave crush on Ellen. But by then, the bodies are piling up, rats have infested the town, the count has arrived after a fateful shipboard journey, and some little girls discover, tragically, that imaginary monsters aren’t so imaginary.

Director Robert Eggers is a maestro of malevolence, as he demonstrated in his previous films The Witch, The Lighthouse and The Northman. He confidently paints this tale with all kinds of disturbia and draws out—sometimes graphically—the mythos of sexuality that’s often been sublimated in vampire stories. Ellen’s writhing agonies are close to ecstasies as Orlock seduces her from afar, causing blood-spurting, eyeball-bulging contortions—and orgasmic sighs. As different characters say throughout the film, “He is coming!” Uh, well, you could put it that way.  

The movie also explores the nature of evil in a world of yore where demons and curses and fairytales are real, science and religion powerless against unholy darkness, and death a fact of life. Orlock, who turns out to be the eternally unquenchable demon Nosferatu, is quite literally death itself. Can the “plague” he brings to London be stopped? Not just with a stake—or pickaxe—through the heart, I’m afraid.

Let’s talk a minute about actor Bill Skarsgård. He’s best known for playing another demonic character, the killer clown in two It horror flicks. Here’s he’s truly unrecognizable under layers of facial prosthetics and slinking around like a half-decomposed corpse. Cloaked in shadow for most of the movie, he’s a hideously ossified incubus, a profane beast for the ages. He is indeed the stuff of nightmares.

And so is this movie, now leading the pack as the best—and most lavishly unnerving—scary movie of the year. It’s a devilishly potent, magnificently orchestrated scare fest that’s intentionally unsettling, but also strangely comforting. Because it’s a dark, delicious reassurance that as long as Robert Eggers is making movies, horror is in good hands.

—Neil Pond