jansouverein

This reimagining of Dracula is an excellent addition to the classic story. The performances by the main actors, Zoë Bleu and Caleb Landry Jones, are excellent. Especially newcomer Zoë Bleu is outstanding, delivering an excellent performance and looking stunning on screen. The romance and chemistry between the two in the film's opening act are portrayed in a great and kind of sweet manner. By contrast, the relationship between Jonathan Harker and Mina is left completely unexplored and lacks any real development. Overall, Jonathan's character feels shallow and underdeveloped. Mina's friend Maria, on the other hand, comes across as oddly overacted and doesn't fit the film's historical setting.

The movie boasts impressive visuals. The set design, costumes, and cinematography are beautiful. Only the gargoyles/goblins feel oddly out of place and not particularly well executed for a big-budget 2025 production.

There are a few minor errors-such as modern toy balloons appearing at a 19th-century funfair-that are unfortunate and should have been avoided. Still, these are small criticisms of an otherwise highly enjoyable and well-crafted film that delivers a fresh, visually striking take on the Dracula legend. Recommended!

51 years after its release, this two-part movie remains a significant piece of art and a pivotal entry in the history of science fiction films. It stands as a precursor to works like The Matrix and is arguably the most important German science-fiction film since Metropolis. Yet, Welt am Draht is by far not as well-known as it should be.

While its visual style is firmly rooted in the 70s, the questions it poses and the ideas it conveys are timeless, delving into philosophical inquiries about reality, our existence, human identity and the human mind. The film brilliantly captures the panic and paranoia that ensue when a person loses the certainties around their identity. The film actually refers to Descartes and (indirectly) to Plato's allegory of the cave, which shows its philosophical underpinnings.

Watching the movie nowadays and considering in what year it was made and what the state of technology was back then, it is astonishing how visionary the director and writers were. Welt am Draht stands as one of the earliest depictions of simulated reality in film history. Computing power then was far away from making possible anything remotely resembling the film's simulated reality. They envisioned a virtual world in great detail when nothing comparable existed. Some characters even act just like video game NPCs.

This is intelligent science-fiction, with little action but a lot of wits and depth. Presumably, the cameo appearance of Eddie Constantine is a nod to Alphaville (1965), a similar kind of science-fiction movie.

The camerawork is exceptional, especially the recurring use of mirrors and glass is remarkable and interlaces the cinematography with the central question of "What is real"? The soundtrack further enhances the movie's somewhat alienating atmosphere.

Fortunately, contrary to what earlier reviewers had to endure, the movie is now widely accessible for purchase and streaming. Incredibly, the Criterion Collection version can be watched in high quality for free on YouTube. I highly recommend this movie to anyone interested in science-fiction or who liked The Matrix. It stands as an essential milestone in the history of the genre.