Nosferatu

The phrase "all style and no substance" comes to mind, but this film has substance, just not a lot...

This has been one of the more challenging reviews to write, as I find it hard to pinpoint exactly how I feel. I love all the ingredients, but the finished dish doesn’t quite come together for me. The film feels like an impressive imitation of something greater, but it never quite reaches greatness itself.

At the time of writing, I’ve seen Robert Eggers’ The Witch and The Lighthouse, though I’ve yet to watch The Northman. This film falls somewhere between The Witch and The Lighthouse—not as imaginative nor mad as The Lighthouse, yet lacking the tight pacing and balance of The Witch.

However, it does share the striking visuals of Eggers' previous films and had the potential to be a cinematographic masterpiece. While there are beautifully shot scenes—like the one featured at the top of this review—they are unfortunately few and far between. Instead, the film often pulls back into a tighter, grittier shooting style that feels overly grounded for a story that could have embraced a more expansive, dreamier (or nightmarish) approach. This may be a harsh piece of criticism, as I still loved the overall look of the film and feel it is its greatest strength —I just felt it held back when it had the potential to fully embrace its visual grandeur.

While the film has its share of tense moments, too much of the horror relies on cheap jump scares and over-the-top gore, both of which feel jarring and out of place. The biggest disappointment, however, is Nosferatu himself—he comes across more like a disgruntled Hungarian general from days gone by than an enigmatic and terrifying otherworldly figure.

This is a movie of two halves—the first draws you in with its tension, atmosphere, and striking visuals, while the second begins to drag, losing its grip. Still, it’s a strong film worth watching, though it falls short of being the must-watch it could have been.