Top Tens – Film: Top 10 Films (Revamped) (7) Zulu

 

Scene from the Zulu film, with Michael Caine front and center – so much so that I tend to think of his historical character, Lieutenant Bromhead, simply as Michael Caine

 

(7) ZULU (1964)

 

The Battle of Rorke’s Drift.

That’s it – that’s the entry. Well that and the 1964 film Zulu which depicted it.

If you’re a fan of the Battle of Helm’s Deep in The Lord of The Rings film (The Two Towers), then you’re a fan of the Battle of Rorke’s Drift as depicted in this film, as the former was filmed in a manner deliberately reminiscent of the film Zulu according to Jackson.

If anything, Rorke’s Drift in Zulu was even more epic than Helm’s Deep – as a small company of less than 150 soldiers attached to the Royal Engineers (including a substantial number of sick and wounded) fought off a force of about 3-4,000 Zulus.

The battle was a small albeit highly celebrated part of the Anglo-Zulu War, with the British soldiers finding themselves in the path of a Zulu force in the aftermath of the opening Zulu victory at Isandlwana.

When it comes to Rorke’s Drift, I tend to default to its depiction in the film Zulu, as it is deeply embedded in my psyche. While generally accurate to the historical battle, it does of course have inaccuracies (with perhaps the most egregious involving the depiction of Private Hook, a model soldier, as a rogue redeemed in the battle). The film may also be seen as somewhat problematic in these times given its celebration of British imperial victory – I don’t care.

Indeed the film tends to glamorize both sides in the battle – with the Zulus depicted as a brave, intelligent, capable, resourceful and ultimately honorable adversary. And if anyone can resist the stirring orchestral theme by John Barry, I don’t know what to say.

The British soldiers were led by Lieutenant Chard, portrayed by Stanley Baker, and his second in command Lieutenant Bromhead, portrayed by a young Michael Caine in his breakthrough film role. Deciding that retreat isn’t an option as they will move too slowly with their sick or wounded and the Zulus will catch them out in the open, they have no option but to stand and fight behind improvised barricade defenses.

Throughout the day and night (into the following day) after the Zulu force surrounds them, wave after wave of Zulu attackers are narrowly repelled by the desperate British defenders. At one point, the Zulus succeed in setting fire to the field hospital, leading to tense scenes of the evacuation of patients under fierce attack by Zulu warriors – and British Surgeon-Major James Henry Reynolds calmly continues his surgery on a wounded soldier with fighting all around him. And yes – he got a Victoria Cross.

The British defenders retreat to the shortened lines of their inner barricades. One tactic you see through the film is the use of multiple ranks of soldiers to maintain a nearly continuous volley of fire with their bolt-action rifles. None more so than the climactic scene with three such ranks used (after falling back from desperate hand-to-hand combat at an outer barricade) to defend a massive assault by Zulu warriors. And as the camera pans back, you see the fallen Zulu warriors mere inches away from the front rank of breathless British soldiers – an impressive feat of holding the line.

That’s when you start to think from the preceding sense of overwhelming doom that hangs over the British soldiers – holy crap, they’re actually going to make it! And then – no, holy crap, they’re not…as the Zulu force masses on the hill overlooking Rorke’s Drift, seemingly barely diminished, while the British are exhausted and running low on ammunition. Lieutenant van den Burgh, their Afrikaaner advisor serving with the Natal Native Contingent, sinks to his knees and rebukes the British officers (and arguably their imperialism as well) – “Haven’t you had enough? We’re all dead!”

And then, holy crap again – as the Zulus chant, raising their spears. “They’re taunting us!” Michael Caine’s character exclaims. Van den Burgh laughs – “You couldn’t be more wrong – they’re saluting us as fellow braves!”. And then the Zulus slowly turn and walk away, still chanting, until a lone warrior is left, before he too turns and leaves.

Sadly, the historical battle ended in a more prosaic way, without the Zulus saluting the British but more withdrawing from strategic sense and an advancing British relief column. I prefer to think it ended the way it did in the film.

11 Victoria Crosses were awarded to the defenders of Rorke’s Drift, as the film itself narrates with a full roll call just before the end credits – including the surgeon as mentioned but also Hook and the two commanding lieutenants Chard and Bromhead.

 

FANTASY & COMEDY

 

I’ll deal with both at once, since the film has little fantasy or comedy as pure his

 

RATING:
A-TIER (TOP TIER)

Top Tens – Film: Top 10 Films (Revamped) (9) The Raid

 

From the films’ theatrical release poster

 

 

(9) GARETH EVANS –

THE RAID (2011-2014)

 

100 minutes of awesomeness in a frenetic, claustrophobic martial arts action masterpiece – the martial arts being the Indonesian pencak silat that is showcased by the film’s fight choreography and the claustrophobic being the film’s premise.

That premise being an Indonesian police squad deployed to raid a drug lord’s apartment block in the sums of Jakarta – actually a fortress-like safe house for the city’s worst criminals – only to find themselves forced to fight their way through the complex to carry out their mission or just to survive long enough to escape.

“Good morning, everyone. You may have noticed we have some guests trawling the halls today. Now, I certainly did not invite them and they most certainly are not welcome. So, in the interests of public health, should you rid this building of its recent infestation, well, then, you can consider yourself a permanent resident of this building. Free of charge. You’ll find these f*cking cockroaches on the sixth floor. Now, go to work. And please, please enjoy yourself.”

And yes – it was the same premise that was (independently) used to similarly great effect in the 2012 Dredd film.

And ever since, I’ve enjoyed whenever The Raid pops up in one form or another – most obviously in its 2014 sequel, which maintained the frenetic action of the first. You know you’re in for glorious action when the climax of the film is preceded by a character telling its action hero that the only way to solve his problems is to kill all of the parties responsible. My personal highlight of the sequel was the assassin duo dubbed Hammer Girl and Baseball Bat Man.

I also get excited whenever I see what I call the Raid guys – primarily Iko Suwais and ‘Mad Dog’ Yahan Ruhian – in a film. Even when they were disappointingly wasted in The Force Awakens. Fortunately, John Wick Chapter 3 made up for that.

I’m also counting it as The Raid popping up for any film by the same director Gareth Evans.

 

FANTASY & SF

No, except to the extent that the intense fighting skill and survival of characters borders on supernatural.

 

COMEDY

Again, not really any comedic elements, except occasionally of the blacker kind

 

RATING: 4 STARS****

B-TIER (HIGH TIER)

Top Tens – Film: Top 10 Films (new entry) (10) Warfare

Film poster art

 

(10) WARFARE (2025)

 

Warfare is “a 2025 American action war drama thriller film” that earns my wildcard tenth place entry by my usual criteria as best film of the present or previous year. Also, it’s a nice bookend with my film in top spot – you’ll see why.

I like the films of Alex Garland, who wrote and directed the film with Ray Mendoza, based on Mendoza’s experiences during the Iraq War as a US Navy Seal. The backdrop is apparently the (Second) Battle of Ramadi or its aftermath in 2026. Mendoza’s platoon – shown with pseudonyms in the film – are on a surveillance mission, which involves them taking over a civilian house, much to the fear and distress of its occupants, and literally scoping out the local jihadi insurgents. Literally, that is, through their sniper sights.

And that’s where things go horribly wrong, as the insurgents scope them right back and get in first, just as American air support withdraws (except for a couple of shows of force that are indeed awesome). From there, it’s a tense story of survival, as the Americans focus purely on extraction – just getting the hell out of there, in one piece or as close as possible. Spoiler alert – it’s not possible, at least in one piece.

You, the viewer, are right there with them, immersed in a visceral experience of combat, and in real time to boot. Also the futility of it all, apart from the destruction of a random civilian house because it was in a good position for surveillance. As one of the female civilians repeatedly shouts after them – “Why?”. They don’t have a good answer for her.

 

RATING:

X-TIER (WILD TIER) – BEST OF 2025

Top Tens – Film: Top 10 Vampire Horror Films

 

Screenshot of Christopher Lee as Dracula in the 1958 film (public domain image from Internet Archive)

 

If zombies are the flesh of horror films, vampires are the blood – and these are my Top 10 Vampire Horror Films in one of my shallow dips or top tens on the spot.

 

S-TIER (GOD TIER – OR IS THAT DRACULA-TIER?)

 

1 – LET ME IN (2010)

 

epiction of vampires as alien predatory entities to humanity to invoke horror on the screen for me – the shark-like predators of 30 Days of Night, or the Lovecraftian parasites in the TV series The Strain.

A refreshingly revamped horror film – revamped also from its origin in the Swedish novel and film Let The Right One In. For one thing, there is just something inherently unsettling about child vampires – in this case, the vampire girl played by Chloe Grace Moritz. For another, the horror was not so much from any scares in it, but again more conceptual or existential – particularly in the relationship between the vampire girl and an alienated and bullied boy.

 

A-TIER (TOP TIER)

 

2 – FRIGHT NIGHT (1985-2013)

 

Probably my favorite vampire film to watch – classic pulp fun! What do you do when a vampire becomes your next door neighbor? Call on the celebrity film vampire hunter turned late night horror TV host, of course.

Also a media franchise with a sequel and remake (and remake sequel).

 

3 – FROM DUSK TILL DAWN (1996-2016)

 

A vampire horror film by Robert Rodriguez (and Tarantino) so iconic that it has spawned a whole franchise extending over two decades – mostly lacklustre film sequels but I liked the TV series adaptation.

Gangster criminals on the run in Mexico vs stripper vampires? What more could you want? Well, apart from Salma Hayek’s Santanico Pandemonium, whose snake dance will be hot-branded in my psyche forever.

 

4 – 30 DAYS OF NIGHT (2007-2010)

 

Technically this should be in my comic book films as it is based on a comic series of the same name but it’s one of my favorite vampire horror films to watch so I’m ranking it here instead.

The title says the plot and premise – vampire congregate on the Alaskan town of Barrow for an all you can eat buffet opportunity of the titular thirty days of night in the depths of winter.

Also spawned a media franchise.

 

B-TIER (HIGH TIER)

 

5 – THE KEEP (1983)

 

Vampires and Nazis – what more do you want? How about Gandalf vs Dracula? (Well, before Gandalf facing off with Dracula actor Christopher Lee as Saruman in the Jackson Lord of the Ring films).

Okay – technically it’s not a vampire (or Dracula) but something posing as one, adapted from the novel by F. Scott Wilson. Still, I’m counting it as another of the more ‘artsy’ vampire horror films out there, albeit somewhat lacking in coherence for anything but cult following. Some big names among its actors – including Ian McKellan obviously for my Gandalf vs Dracula joke.

 

6 – LAIR OF THE WHITE WORM (1988)

 

Stoker strikes again! A film adapted from his 1911 novel – I suspect very loosely, borrowing from his more famous novel to feature snake-vampires in a pagan cult to a snake-god. Snakes for the snake-god! Slither in!

Directed by Ken Russell in his characteristic controversial flamboyant or psychedelic style – not to mention kinky, hence coiling itself deep in my psyche.

 

7 – SHADOW OF THE VAMPIRE (2000)

 

Nosferatu got a lot more real than you’d think. Willem Dafoe shines as usual, as does John Malkovich.

 

8 – BLOOD RED SKY (2021)

 

Putting the red into red-eye flight when hijackers take a plane with a surprise among the passengers.

 

9 – ABIGAIL (2024)

 

Apparently loosely based – very loosely based – on the 1936 film Dracula’s Daughter.

Part of the fun was the ensemble cast. Giancarlo Esposito, who seems to be the go-to guy to add smooth badass vocal charm to film or animated series. Dan Stevens – who is always fun in horror film roles and should be in more of them. Melissa Barrera further establishing herself as horror film scream queen (although she’ll never eclipse the high queen Jenna Ortega).

 

X-TIER (WILD TIER)

 

10 – SINNERS (2025)

 

A vampire horror film that essentially pulls a From Dusk till Dawn switcheroo halfway through the film, but in a 1930s Mississippi blues speakeasy rather than a 1990s Mexico strip club. Quite frankly, the vampires seem to be doing almost everyone involved in the former a favor, given life in this Mississippi Delta sharecropping town – and given that the speakeasy, run by the Smokestack gangster duo, was doomed in three different ways before the vampires showed up. The vampires just got there first – and not by much.

The film has its highlights, foremost among them its Irish vampire antagonist Remmick but also its music, which essentially becomes its own character in the film.

 

 

SPECIAL MENTION

 

(1) DRACULA (CARMILLA & ELIZABETH BATHORY) – BRAM STOKER’S DRACULA (1992)

 

Special mention has to go to Dracula films within vampire films – and Bram Stoker’s Dracula is still my favorite cinematic adaptation of Dracula, albeit playing somewhat loose with the novel at times.

Apocalypse Now in Transylvania!

(Amusingly, Kim Newman did a short story doing just that inspired by the film).

Yes – that’s a quip based on the same director, Francis Ford Coppola, but captures the same cinematic visual style he brought to both. Also – it wouldn’t take too much to rewrite it as Apocalypse Now, except going upriver in Transylvania to take out Dracula.

Shout-out to films of literary vampire Carmilla and historical ‘vampire’ Elizabeth Bathory – not as prolific as Dracula but still worthy of their own special category within vampire films.

 

(2) NOSFERATU (2024)

 

“He is coming”

Yes, I know it’s Dracula with the serial numbers filed off but it’s essentially become a franchise all of its own, of remakes as well as a recurring model with Count Orlok (and the name nosferatu) for vampires. Although the original film was the 1922 German silent film – also remade by Werner Herzog as the 1979 German film Nosferatu the Vampire which is the ‘original’ version I saw – I’m giving this entry to the passion project remake by Robert Eggers as the outstanding version.

As played by Bill Skarsgard (upping the ante on his previous eldritch horror depiction of Pennywise), Orlok is still grotesque but also a towering and terrifying figure of apocalyptic plague, literal and metaphorical. And that’s not just by sight but also by sound – with his reverberating, sepulchral voice.

As usual, Eggers excels in the atmospheric and visual nature of his films – with the use of darkness so palpable here that it is virtually a character in its own right (and indeed usually is as part of Orlok). Much of the film has a dream-like quality, or rather a quality of nightmare – not coincidentally as Orlok has the power to invade the dreams or minds of his victims, being as much like a lich as he is a vampire.

The only drawback is the naked virgin on horseback – I would have liked to see much more of her, or even a whole film about her as naked virgin vampire hunter. Apparently she was played by a Czech model Katerina Bila – you’re welcome.

 

(3) SALEM’S LOT

 

A media franchise based on Stephen King’s version of Dracula in Maine.

 

 

HONORABLE MENTION

 

(1983) THE HUNGER

 

One of the more ‘artsy’ vampire horror films out there – with a cast of beautiful people (Catherine Deneuve, David Bowie and Susan Sarandon). Based (loosely) on a novel by Whitley Streiber, it features a love triangle between a doctor specialising in ageing research and a vampire couple.

 

(1987) THE LOST BOYS

 

Classic 80s vampire film, albeit trying a little too much too be cool for my taste and not as fun as Fright Night, that other classic 1980s vampire film.

 

Top Tens – Film: Top 10 Horror Films (Revised Entry) (7) The Cabin in the Woods

 

Theatrical release poster art

 

(7) THE CABIN IN THE WOODS (2012)

 

“On another level, it’s a serious critique of what we love and what we don’t about horror movies.”

I’m ranking The Cabin in the Woods in top tier, because it is virtually an encyclopedia of horror film genre tropes and references, the latter so congested at times you have to pause or watch frame by frame to get them all (and probably not even then).

It is a horror film that is also meta-horror – a love letter to the genre, or more precisely a love-hate letter to the genre.

“I love being scared. I love that mixture of thrill, of horror, that objectification / identification thing of wanting definitely for the people to be alright but at the same time hoping they’ll go somewhere dark and face something awful. The things that I don’t like are kids acting like idiots, the devolution of the horror movie into torture p0rn and into a long series of sadistic comeuppances.”

That is of course from Joss Whedon as producer and co-writer of the screenplay, the latter with director Drew Goddard as the other co-writer” – and the film is definitely Whedonesque in its troperiffic and reference-heavy quality (rather than the more, ah, negative qualities that might be associated with that term from developments since that film). Indeed, it has distinct similarities with the creation that still is definitive of Whedon – Buffy the Vampire Slayer, Season 4 and the Initiative in particular.

“Five friends go to an isolated cabin in the woods for a weekend vacation.”

And that’s pretty much all you’re getting of the plot here, because any more detail spoils the premise of the film. Let’s just say the premise of the film explains why the plots of horror films often seem so contrived in a deconstruction of both the “cabin in the woods” setting and the horror genre.

Film critic Ann Hornaday summed it up nicely:

“A fiendishly clever brand of meta-level genius propels The Cabin in the Woods, a pulpy, deceivingly insightful send-up of horror movies that elicits just as many knowing chuckles as horrified gasps. [It] comes not only to praise the slasher-, zombie- and gore-fests of yore but to critique them, elaborating on their grammatical elements and archetypal figures even while searching for ways to put them to novel use. The danger in such a loftily ironic approach is that everything in the film appears with ready-made quotation marks around it… But by then, the audience will have picked up on the infectiously goofy vibe of an enterprise that, from its first sprightly moments, clearly has no intention of taking itself too seriously”.

 

RATING: 4 STARS****

A-TIER (TOP TIER)

Top Tens – Film: Top 10 Horror Films (Revised Entry) (10) Sinners

SInners film poster

 

 

(10) SINNERS (2025)

 

Yeah, I know, hyped but I liked it.

My favorite horror film of 2025, matching my usual criterion for wildcard tenth place as best of the current or previous year.

Sinners is a vampire horror film that essentially pulls a From Dusk till Dawn switcheroo halfway through the film, but in a 1930s Mississippi blues speakeasy rather than a 1990s Mexico strip club. Quite frankly, the vampires seem to be doing almost everyone involved in the former a favor, given life in this Mississippi Delta sharecropping town – and given that the speakeasy, run by the Smokestack gangster duo, was doomed in three different ways before the vampires showed up. The vampires just got there first – and not by much.

The Smokestack duo are Elijah “Smoke” and Elias “Stack”, both played by Michael B. Joran – identical twins and First World War veterans who worked for Chicago Mob before making off with Mob money and Mob beer to go into business for themselves.

The film has its highlights, foremost among them its Irish vampire antagonist Remmick but also its music, which essentially becomes its own character in the film.

By the way, that comparison to From Dusk till Dawn is not out of the blue – it was a comparison made by several critics (some of whom preferred the “more grounded first half” to its “supernaturally driven” second half but those critics don’t know that everything’s better with vampires) but also by writer and director Ryan Coogler himself, who cited it as inspiration.

 

RATING:

X-TIER (WILD TIER)

 

 

Top Tens – Film: Top 10 Animated Films (3) Kung Fu Panda

 

(3) KUNG FU PANDA

(2008-2016: KUNG FU PANDA 1-3. Yeah…I just can’t bring myself to count the fourth film)

 

“Legend tells of a legendary warrior whose kung fu skills were the stuff of legend”

What’s not to love about Dreamwork’s Kung Fu Panda, or for that matter, the rest of the trilogy (discounting the fourth film)?

It’s set in an anthropomorphic animal version of pre-modern China – that alone would be enough to make it awesome.

And then there’s the story, deftly balanced between comedy and epic magical or wuxia martial arts action, with CGI animation and beautiful art – for even more awesome, such that will make your enemies go blind from overexposure to pure awesomeness. And just like the titular Panda, I love kung fu, or more precisely, my kung fu movies ever since seeing Bruce Lee’s Enter the Dragon

The eponymous panda, Po, is a hopeless fanboy of the kung fu masters, particularly the Furious Five, composed of animal homages to kung fu styles (Tiger, Monkey, Crane, Viper and Mantis) – hopeless, that is, until he is thrust, by fate and fireworks, into the position of the legendary Dragon Warrior. Worse, he has to fight the dangerous snow leopard Tai Lung (awesomely voiced, as always, by Ian McShane), who seeks the title of Dragon Warrior for himself…

However, my favorite kung fu panda in the film trilogy is not Po, but the red panda Master Shifu – voiced by Dustin Hoffman, who combines just the right amount of wise mysticism with worldly exasperation (usually at Po).

 

FANTASY OR SF

 

Very much the fantasy side of the scale – combining both wuxia fantasy and animal fable.

 

COMEDY

 

Very much the comedic side of the scale as well.

 

RATING: 5 STARS*****

S-TIER (GOD-TIER)

Top Tens – Film: Top 10 Animated Films (8) Inside Out

 

 

(8) INSIDE OUT

(2015-2024: INSIDE OUT 1-2)

 

The depiction of a mental landscape may not have been an entirely original concept, but it was executed superbly in Pixar’s Inside Out.

The first film was set in the mind of a young girl Riley, dominated by a console or control panel run by five personified emotions – Joy, Sorrow, Fear, Anger and Disgust (color-coded for your convenience!)

The control room overlooks an imaginative mental landscape, primarily consisting of islands of memory or personality about the memory dump – which is a literal memory abyss or hole (or a metaphorical Lethe of forgetfulness). The plot revolves around a typical odd couple pairing of Joy and Sadness, as the two are accidentally sucked into Riley’s long-term memories and try to return to the control room, as the mental landscape deteriorates into outright collapse around them in something akin to emotional breakdown (due to Riley’s family moving from Minnesota to San Francisco). Of course, while Joy is paired with Sorrow (and helped by Riley’s imaginary friend), it leaves only Fear, Anger and Disgust to run her psyche (or as Honest Trailers quipped, leaving her psyche to be run by “your average YouTube comments section”. Or any internet comment section for that matter, as well as the X formerly known as Twitter).

Although now that I think about it, it would be interesting to see the (adult) Freudian version of the film, particularly with the superego, ego and id. (But then again, I am my own id. I’m all id, baby!). Or perhaps, the Jungian version, with all those mythic archetypes…

There was the sequel film in 2024 which added a few more adolescent emotions headed by Anxiety to Riley’s mental landscape.

 

FANTASY OR SF

 

Given it’s the emotional or psychological landscape, it probably evades easy genre distinctions but I’m going with fantasy.

 

COMEDY

 

Comedic – but not surprisingly it has many emotional (heh) moments.

 

RATING:

A-TIER (TOP-TIER)

Top Tens – Film: Top 10 Comics Films (Introduction)

 

 

TOP 10 COMICS FILMS

 

Exactly what it says on the tin – my top ten films adapted from comics.

As I observed in my Top 10 Comics, comics are my guilty reading pleasure I have retained from childhood, much like animation in TV or film. And much like animation, whatever the comic, I’ll usually enjoy checking it or its characters out. However, I don’t read that many comics, let alone actively follow them. For most comics, I don’t go beyond checking them or their characters out in brief overview or review to reading them in depth. Usually, my interest is satisfied by the idea of a comic – or ideas in a comic – rather than the comic itself.

In particular, I don’t follow or read any comics from the ruling duopoly of DC and Marvel, although I have an enduring interest in and familiarity with many of their characters – but more in their film or television adaptations, hence this top ten, even if it leans towards entries adapted from comics by other publishers.

Similarly to my Top 10 Animated Films, my Top 10 Comics Films is effectively a subset of my Top 10 Fantasy & SF Films, as (almost) every entry is either fantasy or SF and I will note the extent of each entry as such. As a general rule, animated films lean towards fantasy, while films adapted from comics lean towards SF – consistent with the comics on which they are based. They also tend to be comedic in nature, with both verbal and visual humor – such that they might also effectively be a subset of my Top 10 Comedy Films and again I will note the extent of each entry as comedy.

Top Tens – Film: Top 10 Films (Revised) (10) Robert Eggers – Nosferatu

Theatrical release poster

 

 

(10) ROBERT EGGERS –

NOSFERATU (2024)

 

“He is coming”

My wildcard tenth place entry in my Top 10 Films as best film of 2024.

Yes, I know that I should technically include it in one of my genre film top ten lists – specifically my Top 10 Horror Films (although I will certainly add it to my special mention for vampire horror films) – but I’m substituting it for my previous Eggers entry in this top ten, The Northman.

Although come to think of it, there’s something of a running theme for horror or at least dark fantasy elements in all four of the films Eggers has directed so far – The Northman had arguably the fewest such elements, but Nosferatu follows on from the atmospheric horror of his first film The Witch, aptly enough as Nosferatu has been a passion project Eggers has had bubbling since then and he intended it to be his second film.

If there’s one thing for which Eggers is known, it’s for making mythic worlds – films that utterly and viscerally immerse their audience into the world of their stories, characteristically with “their central elements of mythology and folklore”, down to the finest detail.

He did it with The Witch, he did it with The Northman, and he did it here in his Gothic horror passion project. Indeed, I’d argue that he did it best here – for one thing he has the dark fantasy elements to play with from vampire folklore and for another he improves upon the more ponderous pacing that is arguably a side effect of his world-immersion to make his best paced film yet.

If you know Dracula – particularly the book – you know the central plot of this film. Nosferatu is a remake of the 1922 German silent film of the same name (also remade by Werner Herzog as the 1979 German film Nosferatu the Vampire which is the version I saw). That film in turn was based on the book Dracula, transferred to Germany (instead of England) with the names of characters changed to avoid copyright, most notably the titular vampire renamed to Count Orlok.

Forget the more suave depictions of Dracula or indeed any vampire – Count Orlok as he appeared in the original film (and the 1979 remake) was a distinctively grotesque figure, albeit perhaps unintentionally comic at times.

However, forget that unintentionally comic appearance at times here – as played by Bill Skarsgard (upping the ante on his previous eldritch horror depiction of Pennywise), Orlok is still grotesque but also a towering and terrifying figure of apocalyptic plague, literal and metaphorical. And that’s not just by sight but also by sound – with his reverberating, sepulchral voice.

He’s also gloriously moustachioed, evoking the appearance of Dracula in the book – in turn drawn from the original Dracula, Vlad Tepes or Vlad the Impaler. You certainly get the impression of a literally larger than life Romanian nobleman, that has torn himself through centuries and swum through oceans of blood, both when alive and undead, by sheer size and force of will. And again that’s not just by sight but also by sound – with his accent and speaking what I have read to be a reconstructed form of the ancient Dacian language of pre-Roman Romania. That’s how far back the Orlok of Eggers’ film goes…

As usual, Eggers excels in the atmospheric and visual nature of his films – with the use of darkness so palpable here that it is virtually a character in its own right (and indeed usually is as part of Orlok). Much of the film has a dream-like quality, or rather a quality of nightmare – not coincidentally as Orlok has the power to invade the dreams or minds of his victims, being as much like a lich as he is a vampire.

That’s helped by the dark blue-tinted scenes at night resembling the black and white of the original film but also by the frequent firelit smoky scenes. Even in daylight, the scenes seemed to have a sepia tone.

The only drawback is the naked virgin on horseback – I would have liked to see much more of her, or even a whole film about her as naked virgin vampire hunter. Apparently she was played by a Czech model Katerina Bila – you’re welcome.

Although that also did prompt me to missing an appearance by Eggers alumni Anya Taylor-Joy – she (or her body double) always likes to get naked in his films. Don’t get me wrong – while I have thing for Taylor-Joy with those fey eyes of hers and it would have been interesting to see what she did with the central role of Ellen, Lily Rose-Depp succeeds in bringing an ethereal, otherworldly nature to the role.

 

FANTASY & SF

 

And how! The most dark fantasy elements of any of his films except for The Witch – and writ more large even than that film.

 

COMEDY

 

Eggers…isn’t big on comedic elements. So, no – or few and far between.

 

RATING: 4 STARS****

X-TIER (WILD TIER)