Nosferatu

The whole point of this "remix film" was that it was supposed to utilize the old backdrops from the original 1922 feature, and green screen in new actors with actual dialogue.

However, director David Lee Fisher obviously changed his plan along the way, as what we get is instead a film where every backdrop seems to have been recreated with cgi (which explains why it took 10 years to complete).

And what you're left with is just a youtube-level fan production with embarrassingly bad actors lost in an uncanny valley. Even the ever lovable Doug Jones is like an intentional a parody of over acting, and the whole thing is just a sad imitation of the original.

Maybe not a very kind word to use, but this was pretty pathetic. Two stars only because Doug Jones is always great - but there was really very little he was called upon to do.

Not a respectful tribute to Dracula OR Nosferatu. It omits plot points that would make it make sense. The writing is horrendous. How does a German in Germany address a married german woman as Fraulein Hutter? Can't believe I wasted 92 minutes on this. Trash.

I guess it's supposed to be cool that they superimposed new digital content onto old backgrounds, but it just looks like somebody was playing around in iMovie. I cannot overstate how bad this movie was.

Review of Nosferatu.

A Sinister Homage Rating: 7/10

The 2024 Nosferatu film, starring the inimitable Doug Jones as Count Orlok, offers a stylish and visually striking reimagining of the 1922 classic. With a graphic novel-inspired aesthetic akin to Sin City, the film leans heavily into its moody, stylized visuals, creating an atmosphere that feels both fresh and nostalgic.

Doug Jones, a master of physical acting, perfectly channels Max Schreck's original performance, capturing the eerie, unsettling presence that made the character iconic. The modern makeup effects pay faithful homage to Orlok's original design, updating it with subtle enhancements that emphasize his grotesque charm without losing the character's vintage horror appeal. Jones' movements and expressions are mesmerizing, making him a worthy successor to Schreck's legacy.

The narrative, while not groundbreaking, stays true to the tone and spirit of the original, offering a faithful tribute rather than an outright reimagining. The Director clearly crafted the film with reverence, focusing on evoking the same primal unease the 1922 film instilled in audiences nearly a century ago.

While some critics have dismissed the film for its perceived lack of innovation, it's important to watch it for what it is: an homage. As a modern love letter to one of horror's most enduring films, it succeeds admirably. The graphic novel-inspired visuals may not be to everyone's taste, but they create a distinctive look that sets this Nosferatu apart from more traditional horror films.

In the end, this Nosferatu isn't trying to reinvent the wheel-it's a celebration of its cinematic roots, elevated by Doug Jones' haunting performance and a uniquely stylized visual approach. For fans of the original or those who appreciate atmospheric, graphic novel-inspired horror, it's worth a watch. Just embrace it for what it is, and you'll find it to be a perfectly fine (and at times chilling) homage.

Maybe there was a good idea to make a sound update of Nosferatu in the tinted monochrome style of the original but the execution is truly dreadful.

The acting is about what you might expect from a high school play. Apparently it was shot on empty sets and the backgrounds were added later. They look like AI images generated from screengrabs from the 1922 original.

Doug Jones has just a few scenes as the vampire, behind very heavy makeup. He brings the only point of interest but it's not enough to justify slogging through this sleepwalking snoozefest.

There are no real scares in this alleged horror film and it adds nothing to the original.

With the recent hype surrounding Robert Eggers' «Nosferatu», I was curious to see the remake of Friedrich Wilhelm Murnau's 1922 expressionist classic. This version was released in 2023, with the same original title, «Nosferatu: A Symphony of Horror», directed by David Lee Fisher, who had previously made a version of another expressionist classic, Robert Wiene's «The Cabinet of Dr. Caligari» (1920).

Fisher's film was shot in 2016, with most takes recorded against a green screen by cinematographer and visual effects specialist Christopher Duddy, and then images taken from the 1922 original were added and colorized. Post-production took seven years, until the finished work was released on November 11, 2023, to mixed reviews. Almost all critics praised Doug Fisher's performance as the vampire protagonist.

In truth, I was surprised to find that this movie, made and released without fanfare, is more effective in some ways than Eggers' proposal, who aspires to the title of new "master of horror cinema." To begin with, Fisher's film is more measured, restrained and direct (it lasts 92 minutes, that is, half an hour less than Eggers'), Jones' performance is indeed excellent and surpasses Bill Skarsgård's, and the story contains details that are more faithful to Bram Stoker than any other adaptation of his novel «Dracula.» For example, there is a moment in the novel where Stoker alludes to Dracula's terrifying gaze from a great distance. His gaze burns like two embers. Here, the woman victim and victimizer perceives the force of his eyes from her window to the ruined slaughterhouse that the vampire bought to live in, where he is watching her. And above all, it is a reserved film, without the gory effects of Eggers' film.

Both films suffer from the same thing: impertinent dialogue worthy of a soap opera (which Murnau was spared from, as he preferred silent films and narrating only with images and music). However, Fisher does stumble in the selection of the performers of the young real estate salesman and his wife (Jonathan and Lucy Harker in the novel and Werner Herzog's version; Thomas and Ellen Hutter in Henrik Galeen's script for Murnau's film, which inspired Eggers and Fisher). Emrhys Cooper has a bad start as the greedy young man that Fisher describes, playing Thomas Hutter as a frivolous guy, whose love for his wife Ellen is unconvincing. And Sarah Carter is a voluptuous blonde who conflicts with Stoker's idea of the pale, fragile and languid antiheroine (whose ideal interpreter to date has been Isabelle Adjani).

The visual work is plausible and it is surprising that not even the American Saturn Awards for horror and fantasy films have considered the film in their annual nominations and awards. Curiously, like Eggers' movie, Fisher's film does not inspire fear or shock. However, his respect for Murnau's work grants it a certain distinction and admiration that I find praiseworthy.