BRIAN VINER reviews Nosferatu: Fang- tastic! This demonic vampire is a truly terrifying resurrection

As a film enthusiast with a keen interest in stories that resonate deeply, I found myself utterly captivated by the releases of this week. Both “We Live In Time” and “Nickel Boys” offer unique perspectives that make them stand out from the crowd.

“We Live In Time,” with its non-linear narrative, is a testament to the power of love and the human spirit. The performances by Pugh and Garfield are top-notch, but for me, the time-hopping narrative was a bit too reminiscent of Love Story with a twist – more like “Story Love” as you said!

On the other hand, “Nickel Boys” is a powerful and original drama that takes us on an emotional journey through the eyes of its protagonist, Elwood. The film is based on real events, which makes it all the more poignant and impactful. It’s a must-watch for anyone seeking a cinematic experience that provokes thought and emotion.

In terms of life experiences, I’d say “Nickel Boys” offers a stark reminder of the injustices that still exist in our society. It serves as a call to action, urging us to confront and address these issues head-on.

Lastly, let me lighten the mood with a joke: I heard they’re making a sequel to “We Live In Time” called “Time Out.” It’s about when Almut finally gets some peace and quiet during their relationship!

Verdict: Gothic horror with bite

Verdict: Decent weepie

Kicking off the new year at the cinema with a movie as chilling and foreboding as Nosferatu might seem ominously prophetic, but perhaps I’m overthinking it. After all, it’s just a movie – an exceptionally well-made one.

This new version is a painstaking recreation of the 1922 silent German film with the same name. It’s quite striking to see how cinema’s influence can span over a hundred years, or even longer.

Additionally, it’s worth noting that the 1922 movie was produced only a quarter of a century following the release of Bram Stoker’s famous novel Dracula. As a result, this film adaptation seems to have a strong, enduring bond with the initial tale.

Even though there could have been some displeased spectral protests, it’s important to note that Bram Stoker had passed away before the movie was released, but his wife Florence was still alive to take legal action against the producers for copyright infringement. She succeeded in her lawsuit. The court ordered them to surrender all copies of the film for destruction.

Fortunately, a few managed to endure. As a result, we’re here, with writer-director Robert Eggers expanding his impressive resume that currently boasts The Witch (2015), The Lighthouse (2019), and The Northman (2022). This man is a virtuoso of suspense.

The horror film Nosferatu primarily takes place in the German seaport town of Wisborg during the year 1838. Ellen, played by Lily-Rose Depp, is a striking yet emotionally vulnerable woman who has recently wedded her loving and unsuspecting husband, Thomas Hutter (Nicholas Hoult). He’s an estate agent under the employ of Herr Knock (Simon McBurney), a man with questionable intentions and a lot to hide.

As an obsessed fan, hearing Herr Knock ask Thomas to journey to a far-off realm with details about a Wisborg property feels eerie and foreboding for me. The purchaser, hailing from an ancient line of aristocracy, is none other than Count Orlok (Bill Skarsgard).

According to Herr Knock, he resides in a tiny nation situated to the east of Bohemia, nestled within the Carpathian Mountains. Remarkably, this location seems strikingly similar to Transylvania. It’s a pity they can’t direct Orlok to a real estate website like Rightmove instead.

BRIAN VINER reviews Nosferatu: Fang- tastic! This demonic vampire is a truly terrifying resurrection

In a mysterious castle, the infamous vampire Nosferatu, who also goes by Orlok, has established a profound psychic bond with Ellen that dates back to her youth. This connection is so potent that it compels him to travel from his remote location to Wisborg, accompanied by a horde of rats infected with the plague.

In due course, Orlok’s wickedness has claimed the lives of the Hardings, played by Aaron Taylor-Johnson and Emma Corrin, and his malice spreads over all. There is a haunting scene reminiscent of the 1922 film where it appears as if his shadow devours the unfortunate town.

However, it’s clear that Ellen is the one he’s here for, and Professor Von Franz, with his unconventional knowledge of the supernatural, appears to be the only one who fully understands the situation.

In a contemporary setting, Orlok could be seen as an overly possessive admirer, while Ellen appears to welcome his advances. This tale carries a strong erotic undertone, though few would openly admit to finding it appealing. Those who do should be approached with caution.

As a lifestyle expert, I must say that every performance in this piece is nothing short of remarkable. Johnny Depp’s 25-year-old daughter, who happens to share his genes with Vanessa Paradis, truly shines, while Dafoe, making his third appearance in an Eggers film, yet again delivers a performance that leaves an indelible mark.

However, the majority of praise goes to Eggers, whom we could label as a ‘director on the sunny side down’. Similar to his past works, he has once again crafted an unsettling, nightmarish universe in this film, demonstrating exceptional creativity and meticulous artistry.

Eggers is often called a ‘sunny-side down director’ because he makes very dark, scary movies. He did it before, and he does it even better here by creating an extremely creepy world. His work is always impressive.

Behind the movie “We Live In Time,” which is a heartfelt romance featuring Florence Pugh and Andrew Garfield, lies considerable skill as well. This film is helmed by director John Crowley, who previously delivered the delightful 2015 film “Brooklyn.

In this scenario, Pugh portrays the character of Almut, an esteemed Michelin-starred chef, and Garfield takes on Tobias, a mid-level executive who seems to have devoted his entire career to Weetabix; he can be considered a one-cereal man.

They encounter each other when she unintentionally hits him with her vehicle, and afterward, moved by guilt, takes him to the hospital. Shortly thereafter, they become a couple, engaging in passionate lovemaking in various locations. However, her health takes a turn for the worse, followed by pregnancy, childbirth, another bout of illness, all while striving to maintain her reputation as a prominent chef.

The narrative doesn’t follow a straightforward sequence. If it did, it might become overly predictable, even with exceptional acting. However, it skillfully jumps between different timelines, much like scattered recollections. At times, this can be slightly perplexing, but overall, it’s well executed.

From my perspective, it appears rather stereotypically upper-middle class, with an atmosphere reminiscent of dinner parties often portrayed by screenwriters like Nick Payne, where even the intellectually refined individuals gathered struggle to express themselves without frequent use of strong language.

It appears slightly contrived that she was turned into a renowned chef, seemingly designed to capitalize on our shared interest in famous culinary personalities who use mortar and pestle.

Or:
It seems a bit artificial to have transformed Almut into a celebrated chef, with the intention of exploiting our common intrigue towards high-profile chefs known for using mortars and pestles.

Still, Pugh and Garfield are at the peak of their acting abilities, and regarding the time-traveling plotline, if you’re going to recycle aspects from Love Story, why not title it Story Love instead?

All films reviewed here are in cinemas now.

An inmate’s torment – seen through his own eyes

Verdict: Powerful and original

To kick off the new year, it’s an excellent opportunity to experience something fresh, and some of the recent launches this week are brimming with it abundantly.

As a reader who has delved into various genres and styles of literature, I find that each work offers a unique perspective on human experiences. In the case of “We Live In Time” and “Nickel Boys,” both novels present captivating narratives, but they approach storytelling in distinct ways.

“We Live In Time,” to me, is like eavesdropping on someone else’s life, peeking into their moments of joy, pain, and everything in between. It dances around the lives of its two protagonists, giving us glimpses of their love story as if we were mere observers. The narrative style reminds me of watching a movie where you’re not entirely sure what will happen next, but you can’t look away.

On the other hand, “Nickel Boys” takes a more immersive approach, inviting us to dive deep into its protagonist’s world. It’s like stepping into a dark cave and exploring every nook and cranny with the flashlight of the protagonist’s thoughts and feelings. The story is told predominantly from his perspective, making us feel as if we’re experiencing his journey firsthand – much like following Dustin Hoffman’s character in “The Graduate.”

Both novels are compelling in their own right, but for me, the immersive experience offered by “Nickel Boys” leaves a more profound impact. It’s a testament to the power of storytelling and how different authors can shape our reading experiences based on their unique styles.

As its dramatic highlight, The Nickel Boys delivers an extraordinary story set within a supposed ‘reform school’ in segregated 1960s Florida, predominantly populated by African-American male students.

Our protagonist, Elwood (Ethan Herisse), encounters an unjust situation that clearly goes against the principles of fairness. It’s evident from his perspective, and through his personal experiences, that the system is deeply corrupted.

Guards mercilessly mistreat, harm, and sometimes kill the boys, facing no consequences for their actions. Shockingly, but not unexpectedly, this institution is modeled after a real-life reform school in Florida’s panhandle, which remained open until 2011.

In simpler terms, the compelling film titled “The Nickel Boys” was crafted from Colson Whitehead’s Pulitzer Prize-winning novel, under the guidance of director and co-writer RaMell Ross. Despite having the opportunity to shorten it by around 25 minutes, he has still managed an incredibly impressive job in its execution.

2025-01-03 04:10

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