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‘NOSFERATU’: Eggers Delivers an Instant Horror Classic That Seduces, Haunts

Evil is the plague of desire, heartache etched across time and space, in Robert Egger’s immaculately constructed gothic horror, Nosferatu. A remake that leans on this classical haunt’s impressionistic terrors as much as it engages in a century-long conversation with the story itself, mining the treasured material for new macabre corners to exploit and desecrate, Nosferatu is an artisanal implosion of Egger’s unholy but exacting storytelling sensibilities. The craft is front and center in Egger’s frigidly cold, knottily twisted reimagining of this vampiric tragedy: Jarin Blaschke’s moonlit, candle-flickering cinematography lures you into the shadows; Craig Lathrop’s meticulously haunted set designs create a tension between the living and the dead, the opulent and the otherworldly; and composer Robin Carolan’s deliciously unnerving score binds the film’s horrors into a single unholy hymn, deepening the dread that Egger’s impeccable craft brings to life. What prevails is a singular vision of demented yearning and moral corruption where you don’t dare look away from the screen for an instant—for fear of being seduced by Nosferatu’s spell—or perhaps because you already have been. Read More

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Out in Theaters: ‘THE WITCH’

What do 1630, a silver cup, Christian fervor and a goat named Black Phillip have in common? The Witch. Unholy goodness through and through, Robert Egger‘s feature film debut is a horror masquerading as a costume drama that’s as beady, black and misshapen as the center of a goat’s eye. Beneath the dirt-stained, leather-bound waistcoats, the perfumed, toity language of the New World, the white bonnets and constrictive girdles, The Witch has a vicious, illicit and suspicious center and though admittedly scaled back on “scares” is deeply atmospheric, deeply disturbing and deeply great. Read More

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Sundance Review: THE WITCH

What do 1630, a silver cup, Christian fervor and a goat named Black Phillip have in common? The Witch. Unholy goodness through and through, Robert Egger‘s feature film debut is a horror masquerading as a costume drama that’s as beady, black and misshapen as the center of a goat’s eye. Beneath the dirt-stained, leather-bound waistcoats, the perfumed, toity language of the New World, the white bonnets and constrictive girdles, The Witch has a vicious, illict and suspicious center and though admittedly scaled back on “scares” is deeply atmospheric, deeply disturbing and deeply great. Read More