Robert Eggers’ highly anticipated remake of the 1922 silent horror classic Nosferatu hit theaters on Christmas Day 2024, but rather than breathe new life and terror back to Count Orlok’s story, it has sparked mixed reactions from critics and audiences alike. While Eggers' modern retelling showcases stunning visuals and atmospheric set designs, many express disappointment over its pacing and character depth.
The film follows Thomas Hutter (portrayed by Nicholas Hoult), a promising young lawyer who is dispatched to the Carpathian Mountains on what he believes is merely a real estate transaction with the enigmatic Count Orlok (Bill Skarsgård). Unbeknownst to him, Orlok is not just any aristocrat—he is nosferatu, the undead embodiment of horror. The story grimly parallels the classic tale, exploring the relationship between Orlok and Hutter's wife, Ellen (Lily-Rose Depp), whose psychic connection to the vampire predates the events of the movie.
Visually, Nosferatu is rich and captivating, with cinematographer Jarin Blaschke—who has previously collaborated with Eggers on acclaimed projects like The Witch and The Lighthouse—delivering some of his finest work. The film is laced with shadow and light, much reminiscent of the works of 18th-century artist Caspar David Friedrich. Blaschke steeps the film’s settings—heavy with gloom and grandeur—capturing audiences with beautiful, haunting frames, particularly during scenes where Hutter approaches Orlok’s decrepit castle, which has drawn comparisons to paintings celebrating nature’s sublime terror.
Despite its visual accomplishments, several critics have pointed out significant pacing issues, describing parts of the film as sluggish and detracting from the overall horror experience. The film runs for 132 minutes, leading one viewer to remark on them falling asleep during the climax, highlighting the struggle to maintain tension and intrigue throughout its lengthy runtime. Words like “underwhelming” and “disappointing” echo through the audience exits, as many grapple with how the innovations Eggers sought did not translate to engaging storytelling.
Skarsgård’s portrayal of Count Orlok marks a departure from the original’s menacing presentation by Max Schreck, instead opting for a more visceral and grotesque interpretation where the vampire embodies fleshly death and decay, presenting Orlok not as seductive but rather as terrifying incarnate. Depp’s Ellen, positioned at the story's emotional core, is intended to echo themes of female desire and sacrifice, struggling against her suppressed instincts as she grapples with Orlok’s necromantic machinations. The casting of Willem Dafoe as the mad professor Albin Eberhart Von Franz injects frenetic energy, with his character reflecting Eggers’ commentary on the intersecting realms of science and the occult.
While Eggers aims to explore the theme of destructive power throughout the narrative—echoing ideas of dominance present within vampire lore—several critiques clarify how, ironically, the film slips away from its lead female character and her struggles. Instead, supporting roles take precedence over the central story, which dilutes Ellen’s powerful arc. Critics have argued this creates gaps where thematic discussions about femininity and commodified desire lack depth and clarity, hindering the film’s emotional impact.
Eggers’ adaptation does attempt to resurrect the aura of unease and fear built over decades for vampire films. Nevertheless, it feels reliant on conventional horror tropes rather than the innovative atmosphere of fright emblematic of its predecessor. While the 1922 Nosferatu radiated fear through its shadows and palpable tension, Eggers’ version often resorts to jump scares or predictable horror techniques, leaving much to be desired for those seeking unsettling dread.
Further complicity arises from dialogue perceived as theatrical or forced, prompting audiences to long for tighter writing and brisker pacing. A few critics have drawn unfavorable comparisons between the current film and earlier adaptations, asserting Eggers’ film may lack the originality and cold dread garnered from decades of horror history.
Nonetheless, against the backdrop of modern cinema and the mythos surrounding vampires, Eggers stands firm as he highlights the perils of human desire and the darkness lurking beneath seductive appearances. The costume design shines, with attention paid to period accuracy and detail, enriching the visual storytelling by complementing the film’s gothic aesthetics. This care helps reinforce the emotional truths of its characters, aiding Eggers' exploration of power dynamics.
Critics notice the effort put forth to honor the classic source material, even as some bemoan its failure to deliver the horror originally crafted by F.W. Murnau. Eggers acknowledges the shadows of high expectations set forth by the immortal classic, which may always linger like the ghost of Count Orlok himself over this latest adaptation. Perhaps, the film will still resonate with audiences eager for fresh interpretations of timeless horror, all the same leaving behind echoes of disdain from purists and skeptics alike.
