NOSFERATU

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Robert Eggers Digs His Own Grave

By Cole Smithey

If you've seen Robert Eggers's excellent film "The Lighthouse," then you should have high expectations for how Eggers could approach the well-worn story of Irish novelist Bram Stoker's 1897 Gothic horror novel "Dracula."

Sadly, you will be disappointed.

"The Lighthouse" is everything that "Nosferatu" is not — suspenseful, and dark in a terrifyingly human way.

There's not much humanity in this plot-crammed and poorly written "Nosferatu."

Eggers's inspiration arrives via Henrik Galeen's 1925 German expressionist script for F.W. Murnau's groundbreaking if politically problematic silent movie, considering its obvious racist underpinnings.

Overworked and under-edited, Robert Eggers's "Nosferatu" is not without its charms. Lily Rose Depp is a revelation in her exotic role as Ellen Hunter, a young, horny, nubile woman who offers herself up to the universe to be devoured by whatever form (alien, human, evil or otherwise) that comes through her open window.

Careful what you wish for.

A sleepy first act finally gives way to a late reveal of the monster. To be clear, Nosferatu is a hook-nosed freak of nature non-human creature, well except for his exposed penis.

Yes, "Peenee on set" was announced during the filming of the scene where Bill Skarsgård's Nosferatu shows up very nude, and sporting the most ridiculous mustache you've ever seen. 

This Nosferatu gives mustache rides. Now that's scary. Beauty and the beast indeed.

"Nosferatu" is visually stunning but the screenwriting is not up to snuff by a lot.

Eggers is so obsessed with ticking off a checklist of details culled from every vampire movie ever made that he ties himself up. He employs tropes rather than imbuing them with novel meaning. The movie goes so far as to throw in a gratuitous Exorcist scene that stumbles.

Werner Herzog's "Nosferatu The Vampyre" (1997) is a far superior to Eggers's film in every way. Herzog's movie is simply told in a hyper stylized yet sparse setting where fear and suspense breed.

Hell, Paul Morressey's 1974 cult classic "Blood For Dracula" is a damn sight better than Eggers's movie.

Robert Eggers has squandered a great opportunity to use Bram Stoker's novel as a leaping off narrative form from which to improvise his own cinematic narrative design of suspenseful intent. 

Where is your sense of Jazz improvisation Mr. Eggers?

Come on man; you're better than this.

If it were me I'd have cast Bill Skarsgård as Ellen Hunter's put-upon husband Thomas, and given the role of Nosferatu to his brother Alexander Skarsgård, who I might add would have been much more charming and dignified — think Astro=Hungarian Empire.

I'd have played up suspense in the devil dogs from hell sequence where Thomas gets chased off a ledge into the abyss below. This sequence should be the centerpiece of the film.

Think people, think.

I'd have let Thomas die from his fall, and have him communicate with Ellen telepathically (post-death) in her dreams as Ellen does with her domineering sex master Nosferatu. Nevermind that this vampire has all the charm of zombie meth addict with lesions all over his body that rebuke his gigantic well-groomed mustache.

"Nosferatu" is infuriating because of its cut-and-paste approach, and due to its lack of originality.

A miscast Willem Dafoe does the movie no favors as Professor Albin Eberhart von Franz, a Van Helsing archetype. This is the worst performance I've ever seen from Willem Dafoe.

Viggo Mortensen would have been much better casting.

I suppose this film's tag line, "Succumb to the Darkness" is an apt sentiment in the age of global warming and yet another Trump era.

This vampire movie is perfectly watchable; you may feel inclined to nap during it. Don't worry, you won't miss much.

Rated R. 140 mins.

ANORA — CANNES 2024

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LOVE FOR SALE:

SEAN BAKER'S CINEMA OF SATISFACTION

Sean Baker has stepped firmly into the role of America's most sophisticated, articulate, and socially meaningful filmmaker.

Martin Scorsese, Quentin Tarantino, Richard Linklater, Ken Loach, and Mike Leigh should be falling over themselves, praising Sean Baker for his filmmaking gifts.

Not the least of which is Mr. Baker's seamless ability to slip intimately between American regions (Florida, Texas, New York City) to create thoroughly researched, locality specific, stories that ring like a bell with authenticity and humor.

Sex-work in America is the topic that Sean Baker continues to mine in all of his films.

Mikey Madison takes no prisoners in her fearless performance as Anora. Russian/American "Ani" works at a Brighton Beach strip club where she meets Vanya (Mark Eidelshtein), the over-privileged son to Russian oligarch, Nikolai Zakharov (Aleksey Serebryakov). 

Shit hits the fan when Vanya's filthy rich folks find out that their son and a stripper are a thing.

Darya Ekamasova is hilarious as Galina Zakharov, a woman with way too much money and power. 

The film's remarkable ensemble cast feeds on the material to achieve incredible set-piece action sequences that explode like indoor fireworks.

"Anora," is yet another film (behind "Starlet," "Tangerine," "The Florida Project," and "Red Rocket") that Mr. Baker wrote, cast, directed, and edited, is yet another quantum leap in modernday cinematic storytelling.

This is a movie that gets into your bones.

It is inspiring that Sean Baker is able to write screenplays with such precise novelistic detail about people interacting in overlooked aspects of day-to-day life in America.

Mr. Baker's dialogue is modernday Shakespearean.

Just stunning.

You want Neo-Modern-Realist Cinema, well here it is. Serious adult filmmaking doesn't get any better than this. All NYU film students should be studying Mr. Baker's films.

You can easily tell in its first 15 minutes why "Anora" won the coveted Palme d'Or at Cannes.

"Anora" is a winner, and an instant classic of American Independent Cinema.

Rated R. 140 mins.

THE BIKERIDERS

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Writer/director Jeff Nichols based this wildly entertaining fact-based movie on photographer Danny Lyon's book, which celebrated the Illinois' Outlaws Motorcycle Club.

Through a fictionalized narrative, "The Bikeriders" makes profound commentary on subjects regarding toxic masculinity, cult mentality, and the role of women amid man's animalistic urges.

Nichols's beautifully formal approach is stunning to look at, and to digest on intellectual and emotional levels.

The Viet Nam War is a constant presence lurking in the film's subtext.

Inspired by a television airing of Marlon Brando's "The Wild One" (1953), truck driver family-man Johnny (Tom Hardy) starts his own motorcycle club, the Vandals.

Johnny goes so far as to adopt Brando's voice and speech patterns. Johnny's whole communal club is based on artifice.

What could go wrong with such a phony foundation for positive social interaction to occur? Add to that a repressed homosexual underpinning, and you've got problems.

In the words of Iggy Pop, "a heavy price for a heavy pose."

Iggy's "Stooges" era song "Down on the Street" makes narrative impact during one of the film's most harrowing sequences.

Real life is hardly as romantic as Hollywood would have you believe.

Johnny bites off more than he can chew as his Vandals Motorcycle Club grows rapidly with multiple chapters around the Midwest.

A hotbed of cult violence breeds like wildfire. Stupid is as stupid does.

Tom Hardy's Johnny hopes to pass his presidential club status on to Benny (Austin Butler), a young hothead adored by Jodie Comer's working class Kathy Bauer character.

It doesn't take much extrapolation to see the connection between motorcycle gangs and pseudo political cults such as the MAGA movement. Racism and sexism are baked into the mindsets of societal outcasts intent of instilling fear in all those they come across.

Primary to Jeff Nichols's brilliant five-act film is the female perspective of its protagonist Kathy.

Jodie Comer gives an Oscar-worthy performance that defies all expectatio

Ms. Comer's mastery of acting craft is astounding — next level stuff. Comer's Midwest exquisite Midwest accent and range of expressive physicalizations are a delight to witness. Wow!

All young aspiring actors should study Jody Comer's superb work.

Tom Hardy and Austin Butler have their hands full keeping up with Jodie Comer.

"The Bikeriders" is an actor's actors movie by far and away.

Rated R. 114 mins.