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Nosferatu (2024)

Yes, there are some solid gothic visuals. Yes, Willem Dafoe is fun. But those things don’t make up for a film that’s so self-indulgent that it forgets to be entertaining.

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Nosferatu

Let’s be real: when you hear the name Nosferatu, you expect a certain level of eerie, gothic horror. You expect shadowy alleyways, haunting silence, and the slow, dreadful realization that something ancient and evil is creeping toward you. What you don’t expect is a bloated, overly self-serious art piece that stretches itself so thin you can practically see through it.

And yet, here we are.

Robert Eggers’ Nosferatu is what happens when a filmmaker is so focused on making a “serious” horror masterpiece that they forget to actually make it scary. Or engaging. Or, in some cases, even coherent. Sure, the film hits a few of the familiar beats of Dracula—because at the end of the day, that’s all Nosferatu really is, a bootleg Dracula with the serial numbers filed off—but it stretches itself over such a plodding runtime that it loses any real impact.

The result? A film that thinks it’s profound, but is actually just pretentious.

Let’s start with the title character himself: Count Orlok. Played by Bill Skarsgård, who has proven himself more than capable of being a terrifying horror villain (IT, Barbarian), Orlok in this version isn’t so much terrifying as he is just… weird.

First of all, that damn moustache. Who in the production department thought Nosferatu, one of the most unsettling vampire designs in cinematic history, should have facial hair? This isn’t The Grand Budapest Hotel, and Orlok isn’t some quirky Wes Anderson side character—he’s supposed to be an unholy thing, not the guy running the front desk at an Eastern European hotel in 1912. It’s genuinely baffling, because every time Orlok is on screen, instead of feeling dread, all you can think is, Why does he look like an evil landlord?

Aside from his questionable grooming choices, Orlok just isn’t that scary. He’s certainly grotesque, and Skarsgård does his best to channel something monstrous, but his version of the character often just comes off as a guy standing ominously in doorways. It’s less otherworldly terror and more your socially awkward coworker who doesn’t blink enough.

Then there’s Lily-Rose Depp as Ellen (the film’s stand-in for Mina Harker). Look, Depp is clearly trying here. She’s throwing herself into this role with everything she’s got, but the way the film frames her makes her come across less as a tragic gothic heroine and more like a freak (and not in the fun, Tim Burton way).

The movie can’t seem to decide whether she’s supposed to be innocent, tormented, possessed, or just plain unwell. Sometimes, she’s staring blankly into space like she’s in a perfume ad. Other times, she’s writhing in ways that suggest she might be in a different kind of horror film. If her performance seems confused, it’s because the script does her no favors. A stronger script might have given her more to work with, but as it stands, she spends most of the movie alternating between looking bewildered and looking like she’s trying to seduce Orlok for some reason.

And speaking of terrible character decisions…

Can we, as a society, please stop butchering Mina’s role in Dracula adaptations? Please?

Once again, we get a version of Dracula (Nosferatu, same thing) where Mina—sorry, Ellen—doesn’t get to be the intelligent, determined woman who outwits the vampire. No, no, that would be too much effort. Instead, the writers decide the best way to “empower” her character is to make her sacrifice herself to stop Orlok.

Why? Because horror movies still can’t grasp the idea that women in gothic horror stories don’t always have to die for the sake of emotional weight. The original Nosferatu did this too, so it’s not like this is new, but it’s still bullshit. It was bullshit in 1922, and it’s even more bullshit now.

The worst part? The way the movie frames her death as this grand, tragic moment, as if it’s some kind of profound statement. It’s not. It’s just lazy writing disguised as gothic storytelling.

Willem Dafoe, bless his unhinged little heart, seems to be the only person in this movie who realizes what kind of film he’s in. While the rest of the cast is drowning in self-seriousness, Dafoe is over here treating every line like he’s in a campy stage play, and honestly? It’s the best part of the movie.

Dafoe is always at his best when he’s allowed to lean into the absurd, and here, he takes that opportunity and runs with it. Every moment he’s on screen, you can feel the energy shift—suddenly, the film has life, because he refuses to let it wallow in its own misery. The downside? Every scene without Dafoe feels twice as slow by comparison.

Now, let’s talk about the changes this film makes to the classic Nosferatu/Dracula structure. Some of them could have been interesting, but instead, they feel completely arbitrary.

Jonathan Harker (or Hutter, or whatever they want to call him in this version) is barely relevant. He exists, sure, but you could remove him entirely, and nothing about the story would change. He’s that pointless.

Orlok’s motivations are vague at best. Why is he doing what he’s doing? What does he actually want? Unclear. He just sort of exists to be creepy and torment Ellen.

The pacing is horrendous. The movie stretches itself out like it’s some slow-burn masterpiece, but it never earns that level of indulgence. Every scene lingers too long, every conversation takes twice as long as it should, and by the time anything interesting happens, you’re already mentally checked out.

At the end of the day, Nosferatu (2024) is a film that tries way too hard to be an artistic masterpiece but forgets that Nosferatu is, first and foremost, supposed to be scary. The horror is watered down, the pacing is sluggish, and the performances are a mixed bag of trying too hard and not trying hard enough.

Yes, there are some solid gothic visuals. Yes, Willem Dafoe is fun. But those things don’t make up for a film that’s so self-indulgent that it forgets to be entertaining.

And that damn moustache. I will never forgive them for that damn moustache.

Nosferatu
1 ScreenDim Score
Summary
Yes, there are some solid gothic visuals. Yes, Willem Dafoe is fun. But those things don’t make up for a film that’s so self-indulgent that it forgets to be entertaining.

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Films

Sinners (2025)

It’s fine, I suppose, but I don’t understand why everyone’s acting like it’s the greatest thing since sliced bread when it’s really more like adequately buttered toast.

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Sinners (2025)

Sinners is a perfectly adequate film – but that’s it, adequate.

It’s not completely shit. The acting is perfectly fine – nobody embarrasses themselves, nobody phones it in. Michael B. Jordan does his thing, everyone else does their thing, and things generally get done adequately. The music is surprisingly decent too, which is more than you can say for most films these days, where the soundtrack sounds like it was composed by someone having a nervous breakdown in a synthesiser shop.

But bloody hell, this thing is about 30 minutes too long. Maybe more. It’s like watching someone tell a perfectly good joke and then spend another half hour explaining why it was funny, complete with PowerPoint slides and audience participation segments.

You can feel where a decent 90-minute film is trying to escape from the bloated 2-hour monster it’s been trapped inside. The first 45 minutes is all set-up. Every scene goes on just a bit too long, every conversation includes about three more exchanges than necessary, and by the end you’re checking your watch wondering if time has actually stopped moving.

But there were three things in particular that bugged me about this film.

First up, we’ve got the classic “one person does something monumentally stupid that puts everyone at risk” scenario. In this case, someone invites the vampires in, because apparently nobody in this film has ever seen a vampire movie before. It’s like watching someone stick their hand in a blender and then acting surprised when it doesn’t end well.

Then there’s the antagonist, who spends precious time delivering what amounts to a TED talk about his evil plans instead of just getting on with the evil bit. Look mate, we get it, you’re the bad guy, you’ve got motivations and backstory and probably daddy issues. Just get on with the murdering, yeah? The monologuing thing stopped being clever sometime around the first Austin Powers film.

But here’s the really mental bit – even without all the villainous chat, the plan still makes no bloody sense. He’s going to burn anyway? What was the strategy there exactly? Stand around explaining things until sunrise? It’s like watching someone play chess by explaining their moves to their opponent for twenty minutes before actually making them.

The whole thing follows the “everyone gets laid and dies” formula with the reliability of a Swiss watch. You can practically tick them off: character development, bit of romance, sexy times, immediate death. It’s so predictable you could set your calendar by it.

The setting and costumes are fine enough – period pieces generally look good because someone’s put effort into making sure the buttons are historically accurate and the dirt is appropriately distributed. But looking nice isn’t the same as being interesting, which seems to be something this film hasn’t quite grasped.

What’s most frustrating is that there’s clearly a decent film buried somewhere in this overstretched mess. Strip away the padding, tighten up the pacing, maybe don’t have your villain explain his entire life story before getting down to business, and you might have something actually worth watching.

Instead, we get a film that’s been hyped to the bloody moon by people who seem to think “adequate” is the new “brilliant.” Everyone’s acting like this is some kind of game-changing masterpiece, when it’s really just a perfectly serviceable vampire film that’s been inflated like a balloon at a children’s party.

The hype is the real problem here. When everyone’s telling you something is revolutionary cinema, you go in expecting your socks to be knocked clean off. Instead, your socks remain firmly in place, possibly even more securely attached than when you started.

Look, if you go in with properly managed expectations – thinking you’re going to see a decent enough vampire film with good production values and competent performances – you’ll probably have a perfectly acceptable time. If you go in expecting the sort of groundbreaking cinema everyone’s been promising, you’re going to come out wondering what all the fuss was about.

It’s fine, I suppose, but I don’t understand why everyone’s acting like it’s the greatest thing since sliced bread when it’s really more like adequately buttered toast.

Sinners (2025)
3.5 ScreenDim Score

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Films

Bring Her Back (2025)

“Bring Her Back” is like a horror film that’s been assembled from really good individual scenes without anyone checking whether they actually fit together into a coherent whole.

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Bring Her Back

This horror film has more unexplained mysteries than a David Lynch fever dream, but at least the gore is properly mental.

SPOILER WARNING: Loads of spoilers here.

Don’t get me wrong – this isn’t complete shite. The gore is properly brutal, the kind that makes you wince and immediately check that all your limbs are still attached. The performances are genuinely solid across the board. And Laura, the main antagonist, is the sort of character you absolutely love to hate, like a particularly effective parking warden or someone who talks loudly on their phone in quiet train carriages.

But Christ alive, the story makes about as much sense as a chocolate teapot in a sauna.

Laura apparently kidnaps Oliver from his bedroom, according to a missing poster. Now, I’m no expert on child abduction, but last time I checked, scaling buildings and making off with random children isn’t exactly a beginner-level criminal activity. Did she just happen to have a ladder handy? Cat burglar training? A very understanding Uber driver? The film doesn’t bother explaining how someone manages to nick a kid from what we can assume is a family home without anyone noticing.

And speaking of Oliver – or Connor, or whatever his name is this week – how exactly did he get possessed in the first place? Did the demon put in an application? Was there an interview process? A background check? The film treats demonic possession like it’s as common as catching a cold, but never bothers explaining how any of this supernatural bollocks actually works.

Then there’s the question of whether Laura actually murdered Andy and Piper’s dad, or if that was just convenient manipulation. Because if she did kill him, that raises a whole other set of questions about her murder methodology. If she didn’t, then what are the odds she’d randomly acquire a kid who happens to be both female and partially blind? That’s not luck, that’s winning the evil plot lottery.

And where the hell are all the mothers? Andy’s mother – no idea what happened to her. Piper’s mum – no idea what happened to her. We find out Andy’s dad is a bit of a dick so are we meant to assume he was abusive to both mothers and they both leave without the kids? What the hell happened there?

The more you think about the logistics of what’s supposed to have happened, the more your brain starts to hurt. It’s like trying to solve a jigsaw puzzle where half the pieces are missing and the other half are from a completely different box.

But here’s the thing – when the film stops trying to make sense and just gets on with being properly horrific, it actually works quite well. The knife scene is absolutely brutal, the kind of thing that makes you grateful you’re watching it on a screen rather than having to clean up afterwards. The table eating scene is similarly mental – properly disturbing in all the right ways.

And the actors – fair play to them – they sell the hell out of this confused narrative. They’re committed to making this mess feel real, even when the plot is doing backflips to avoid explaining itself. Laura, in particular, is brilliantly hateable. She’s the sort of antagonist who makes you genuinely invested in seeing her get her comeuppance, which is no small achievement when you’re working with material that’s held together with narrative duct tape.

“Bring Her Back” is like a horror film that’s been assembled from really good individual scenes without anyone checking whether they actually fit together into a coherent whole. It’s got all the right ingredients – decent acting, proper gore, genuinely creepy moments – but it’s been mixed together by someone who’s apparently never heard of things like “logic” or “cause and effect.”

Review 0
4 ScreenDim Score

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Films

Smile 2 (2024)

Still better than most horror sequels, mind you. But that’s like being the tallest person in a room full of sitting people – technically accurate, but not exactly a ringing endorsement.

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Smile 2

Yes, I’m late to the party on this one.

The story follows a pop star who gets infected by the smile curse, which sounds like it should be a tabloid headline but is apparently a legitimate supernatural threat. Naomi Scott does a perfectly decent job as someone slowly losing her mind to demonic grinning, and to be fair, she sells the hell out of the increasingly unhinged behaviour. The supporting cast all do their jobs competently enough – nobody embarrasses themselves, nobody phones it in.

But here’s where it all goes tits up: the film spends most of its runtime building up tension, creating genuinely unsettling scenarios, and making you invested in what’s happening to these characters. Then, just when you think you’re getting somewhere, it pulls the old “actually, the last thirty minutes were all in her head because demons” trick.

It’s the horror equivalent of those dreams where you think you’ve woken up but you’re still dreaming, except instead of being clever, it’s just bloody annoying. You know what’s not scary? Being told that the scary thing you just watched wasn’t real. You know what doesn’t create tension? Undermining your own narrative with the supernatural equivalent of “it was all a dream.”

This isn’t innovative storytelling; it’s lazy writing disguised as psychological complexity. It’s what happens when writers can’t figure out how to resolve their plot properly so they just declare that half of it didn’t actually happen. It’s like playing chess with someone who keeps moving the pieces and then claiming the rules were different all along.

The gore is adequate enough – nothing that’ll make you lose your lunch, but sufficient to remind you that you’re watching a horror film and not an episode of “Holby City” with occasional grinning. There are some properly unsettling moments scattered throughout, particularly a sequence where smiling people materialise in the protagonist’s flat and only move when she’s not looking directly at them. It’s properly creepy, like having the world’s most sinister game of Red Light, Green Light happening in your living room.

That bit actually works brilliantly – it’s the kind of nightmare logic that makes you genuinely uncomfortable without resorting to cheap jump scares or explaining itself to death. More of that, please, and less of the “surprise, none of this mattered” bollocks.

But then we need to talk about the product placement, because bloody hell, someone at Voss Water must have pictures of the filmmakers doing something embarrassing. I counted the distinctive bottles appearing on screen at least eight times, which is approximately seven more times than necessary to establish that people in this film drink water. It’s so blatant it becomes genuinely distracting – you start watching for the next Voss bottle appearance instead of paying attention to the actual horror.

It’s like they’ve confused a horror film with a particularly expensive advert for overpriced bottled water. Every time someone needs to hydrate, out comes another perfectly positioned Voss bottle, gleaming in the light like some kind of Norwegian beacon of commercial desperation. You half expect the demon to start grinning because it’s just remembered to stay properly hydrated.

I understand that films need financing, and product placement is part of modern cinema. But there’s a difference between subtle brand integration and basically turning your horror film into a pop-up shop for premium water. When your supernatural thriller starts feeling like a lifestyle magazine, you’ve probably gone too far.

If you enjoyed the first “Smile,” you’ll probably find this tolerable enough. If you were hoping for something that built meaningfully on the original concept rather than just repeating it with better production values and more water bottle cameos, you might come away feeling like you’ve been sold a slightly more expensive version of something you already owned.

Still better than most horror sequels, mind you. But that’s like being the tallest person in a room full of sitting people – technically accurate, but not exactly a ringing endorsement.

Smile 2 (2024)
3.5 ScreenDim Score

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