A remake of the 1922 horror classic Nosferatu, which was an unauthorised adaptation of Bram Stoker’s Dracula.

It is 1838 in the fictional port town of Wisborg, Germany. Young couple Thomas Hutter (Nicholas Hoult) and his new wife Ellen (Lily-Rose Depp) find themselves separated when Thomas is sent to complete a business deal in Transylvania with the mysterious Count Orlok (Bill Skarsgard). During Thomas’ absence Ellen begins to suffer night terrors, as a mysterious demon visits her in her sleep.

Hutter finds himself trapped in Orlok’s castle once he has completed his transaction with the count. Then Orlok sets sail for Wisborg, bringing with him a plague of rats, death and despair. Ellen is tended to by her friends Friedrich (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin) whilst Doctor Wilhelm Sievers (Ralph Ineson) finds himself turning to a professor of the occult (Willem Dafoe) to assist with her night terrors.

Regardless of how well you may know the story of Dracula or Nosferatu, this remake by writer/director Robert Eggers is an exceptional “must watch” movie. It is both a loving nod to the original and a superb update to the story.

In terms of pacing its first half is all dread, suspense and building fear. Whilst its second half is far more urgent and filled with flamboyant theatricality. Its setting in 1838 where modern medicine still clashes with superstition is perfect. Vampirism is the plague and Orlok’s mental control over people is simply madness. Dreams are hugely important here and where Orlok takes control and inflicts most of his damage.

As for the look of the film, it is a work of art. Eggers alongside his director of photography Jarin Blaschke have set out to make each shot look like something you could frame in a gothic art installation. When Orlok is near the film’s colour is almost completely desaturated and you could be watching a black and white movie. There are shots lit by candle light and many images of shadows that pay homage to F. W. Murnau’s original.

Count Orlok himself is a huge achievement. Portrayed by Bill Skarsgard, who also delivered the demonic Pennywise the Clown in It and It: Chapter Two, Orlok is a force to be reckoned with. Eggers has chosen to have Orlok speak in a dead language called Dacian which was spoken in the Northern Carpathians and is a precursor to modern Romanian. The guttural voice in which Skarsgard delivers his lines is incredibly menacing.

On top of the superb lead antagonist there is an array of protagonists who help propel the story and add drama to the story unfolding. Ellen played by Lily-Rose Depp is the foremost of these characters. The role, originally earmarked for Anya Taylor-Joy who had to step aside due to scheduling reasons is crucial to the success of the film and Depp does a wonderful job. She conveys a deep fear of the unknown force that holds her and also manages to show that she is ready to fight it as well. Her appearance is nearly skeletal in some scenes where the force takes hold of her and it is a sight to see when she fits spasmodically under the influence of Orlok. Thomas played by Nicholas Hoult admirably leads the film but is actually more of the “damsel in distress” here than in perhaps other interpretations as he finds himself trapped by Orlok and unable to find a solution to his dastardly plans. Friedrich and Anna Harding are ably played by Emma Corrin and Aaron Taylor-Johnson, the latter of which steals most of the scenes that he appears in. The only ones that he does not are those that feature Willem Dafoe as occultist Professor Albin Eberhart von Franz. A character he plays as flamboyantly as his superb name. The cast still includes the likes of Ralph Ineson and Simon McBurney in superb supporting roles as well in what is an embarrassment of riches.

I was rapt throughout. Completely absorbed in the imagery, characters and depiction of a classic tale. This remake manages to capture the original classic elements in a modern new take and I can not praise it enough.

Utterly superb.