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Movie review: Reverence to source material drains life from ‘Nosferatu’

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Movie review: Reverence to source material drains life from ‘Nosferatu’

Passion projects are often lauded simply for their passion, for the sheer effort that it took to bring a dream to life. Sometimes, that celebration of energy expended can obfuscate the artistic merits of a film, as the blinkered vision of a dedicated auteur can be a film’s saving grace, or its death knell. This is one of the hazards of the passion project, which is satirically explored in the 2000 film “Shadow of the Vampire,” a fictionalized depiction of the making of F.W. Murnau’s 1922 silent horror film “Nosferatu: A Symphony of Horror,” in which John Malkovich plays the filmmaker obsessed with “authentic” horror.

This meta approach is a clever twist on the iconic early horror movie that looms large in our cultural memory. Inspired by Bram Stoker’s 1897 novel “Dracula” (with names and details changed in order to skirt the lack of rights to the book), “Nosferatu” is a landmark example of German Expressionism, and Max Schreck’s performance as the vampire is one of the genre’s unforgettable villains.

“Nosferatu” has inspired many filmmakers over a century — Werner Herzog made his own bleak and lonely version with Klaus Kinski in 1979; Francis Ford Coppola went directly to the source material for his lushly Gothic “Bram Stoker’s Dracula” in 1992. Now, Robert Eggers, who gained auteur status with his colonial horror film “The Witch,” the Edgar Allen Poe-inspired two-hander “The Lighthouse,” and a Viking epic “The Northman,” delivers his ultimate passion project: a direct remake of Murnau’s film.

His first non-original screenplay, Eggers’ version isn’t a “take” on “Nosferatu,” so much as it is an overly faithful retelling, so indebted to its inspiration that it’s utterly hamstrung by its own reverence. If “Shadow of the Vampire” is a playful spin, Eggers’ “Nosferatu” is an utterly straight-faced and interminably dull retread of the 1922 film. It’s the exact same movie, just with more explicit violence and sex. And while Eggers loves to pay tribute to the style and form of cinema history in his work, the sexual politics of his “Nosferatu” feel at least 100 years old.

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“Nosferatu” is a story about real estate and sexual obsession. A young newlywed, Thomas Hutter (Nicholas Hoult) is dispatched from his small German city to the Carpathian Mountains in order to execute the paperwork on the purchase of a rundown manor for a mysterious Count Orlok (an unrecognizable Bill Skarsgård), a tall, pale wraith with a rumbling voice that sounds like a beehive.

Thomas has a generally bad time with the terrifying Count Orlok, while his young bride at home, the seemingly clairvoyant Ellen (Lily-Rose Depp) is taken with terrifying nightmares and bouts of sleepwalking, consumed by psychic messages from the Count, who has become obsessed with her. He makes his way to his new home in a rat-infested ship, unleashing a plague; Ellen weighs whether she should sacrifice herself to the Count in order to save the town, which consists of essentially three men: her husband, a doctor (Ralph Ineson) and an occultist scientist (Willem Dafoe).

There’s a moment in the first hour of “Nosferatu” where it seems like Eggers’ film is going to be something new, imbued with anthropological folklore, rather than the expressionist interpretation of Murnau. Thomas arrives in a Romanian village, where he encounters a group of jolly gypsies who laugh at him, warn him, and whose blood rituals he encounters in the night. It’s fascinating, fresh, culturally specific, and a new entry point to this familiar tale. Orlok’s mustachioed visage could be seen as a nod to the real Vlad the Impaler, who likely inspired Stoker.

But Eggers abandons this tack and steers back toward leaden homage. The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

Depp whimpers and writhes with aplomb, but her enthusiastically physical performance never reaches her eyes — unless they’re rolling into the back of her head. Regardless of their energetic ministrations, she and Hoult are unconvincing. Dafoe, as well as Aaron Taylor-Johnson and Emma Corrin, as family friends who take in Ellen, bring a winking campiness, breathing life into the proceedings, while Simon McBurney devilishly goes for broke as the Count’s familiar. However, every actor seems to be in a different movie.

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Despite the sex, nudity and declarations of desire, there’s no eroticism or sensuality; despite the blood and guts, there’s nothing scary about it either. This film is a whole lot of style in search of a better story, and without any metaphor or subtext, it’s a bore. Despite his passion for the project, or perhaps because of it, Eggers’ overwrought “Nosferatu” is dead on arrival, drained of all life and choked to death on its own worship.

‘Nosferatu’

GRADE: C

Rated R: for bloody violent content, graphic nudity and some sexual content

Running time: 135 minutes

In theaters Dec. 25

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Review | Another World: macabre human fable is a new milestone for Hong Kong animation

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Review | Another World: macabre human fable is a new milestone for Hong Kong animation

4/5 stars

Hong Kong filmmakers rarely get as philosophical about the human condition as they do in the animated feature Another World, which contemplates the limits of goodness in the face of great evil, set against a vibrant action fantasy backdrop.

Adapted from Naka Saijo’s novel Sennenki: Thousand-Year Journey of an Oni with both narrative flair and visual potency, this impressive effort by first-time director Tommy Ng Kai-chung and writer-producer Polly Yeung Po-man is an anomaly in more ways than one.

Although the film’s focus on reincarnation appears to align it with Eastern religions, Another World’s belief in kindness renders it a universally engaging watch. Young children should stay away, however, as they might be scarred by some of the shockingly grisly moments in this macabre tale.

Leading us into the afterlife is one of its spirit guides, Gudo (voiced by Chung Suet-ying), who is tasked with helping deceased souls let go of their memories and escorting them past a magical waterfall into the next life – all the while making sure the “seed of evil” inside each of them, if any, does not sprout out of resentment.

His latest charge is a girl named Yuri (Christy Choi Hiu-tung), whose pure and lively character fascinates Gudo. Yuri is initially not aware that she has died and is instead persistent in her search for her younger brother, whose fate remains unknown for much of the runtime.

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Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus

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Now You See Me: Now You Don’t Movie Reviews Are In – And There’s One Clear Critics’ Consensus

The first critics’ reactions to Now You See Me: Now You Don’t are finally here, and they largely agree that the Lionsgate threequel is another major hit. After being stuck in development, the highly anticipated Now You See Me Sequel will finally arrive in theaters on November 14, 2025, continuing the story of the iconic Four Horsemen, illusionists and street magicians who are experts in orchestrating elaborate heists. 

In Now You See Me‘s third installment, the Four Horsemen recruit three skilled illusionists for another heist involving the world’s largest queen diamond before finding it belongs to a powerful crime syndicate. The hype surrounding the movie is poised to rise after the first wave of reactions had high praise for the project. 

Critics who saw an early screening of Now You See Me: Now You Don’t in New York shared their first reactions on X. The threequel received largely positive reactions, with nearly all critics saying that it is thoroughly entertaining and fun. 

Film critic Andre Saint-Albin described the film as “a sleight-of-hand masterpiece,” noting that Now You See Me 3 has an “entertaining story” and a “phenomenal diamond heist.” He also teased that the film has an “epic” third act while also praising the new casting additions: 

“‘Now You See Me: Now You Don’t’ is a sleight-of-hand masterpiece! The Four Horsemen (Eisenberg, Harrelson, Franco, Fisher) return for their next trick with an entertaining story & a phenomenal diamond heist. Smith, Sessa & Greenblatt plant the seeds as Gen-Z firebrands, clashing with old-school magic. New seeds, old tricks, epic third act! Fleischer’s directs a ride so good fun you’d swear it was sorcery!”

Entertainment reporter Jonathan Sim boldly claimed that Now You See Me: Now You Don’t is a “funny, thrilling heist movie” and teased that it was “filled with surprises:”

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“#NowYouSeeMe: Now You Don’t gives us the magic we’ve been waiting for. A funny, thrilling heist movie. The Horsemen are back in action with non-stop fun, tricks, and joy. The new characters are an A+ addition. Filled with surprises and just as dazzling and astonishing as ever.”

While Critics Choice’s Tony Mosello admitted that it’s more of the same, he said that fans will love Now You See Me: Now You Don’t due to its fun “twists and surprises, with elevated stakes:”

“NOW YOU SEE ME: NOW YOU DON’T proves the original Horsemen still have “it”, injecting the show with youthful energy via the newcomers and a fun, campy, and villainous Rosamund Pike. Full of twists and surprises, with elevated stakes; it’s more of the same, but fans will LOVE it.”

CinemaBlend’s Riley Utley shared that the threequel made her “smile from ear to ear,” and the movie reminded her why the first movie made her fall in love with films in the first place:

“‘Now You See Me: Now You Don’t’ reiterates with exclamation points why the first ‘Now You See’ movie was one of the projects that made me fall in love with movies. There’s nothing better than projects that make me smile from ear to ear, blow my mind and make it clear why movies are magic.”

That Hashtag Show’s Manny Gomez praised how the latest Now You See entry allowed the original cast to “set the stage for the new magicians to shine:”

“#NowYouSeeMe is a fun addition to the franchise that allows the beloved cast to set the stage for the new magicians to shine. Loved the magic… misdirection… and twists and turns that make going to the movies fun.”

The Direct’s David Thompson was proud to declare that the “magic is back” in the Now You See Me franchise after seeing that the third installment was filled with “some satisfying twists and turns:”

“Happy to report the magic is BACK in the #NowYouSeeMe franchise — loved the new cast, a bunch of fun sequences, & some satisfying twists and turns.”

Film critic and The Film Blerds host Brandon Norwood said that fans of the series will definitely “love” Now You See Me: Now You Don’t because it is “thoroughly entertaining:”

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“NOW YOU SEE ME: NOW YOU DON’T: Thoroughly entertaining! The younger cast mixes in well with the OGs. Fans of the series, you’ll love this. Really miss mid-budget studio popcorn fare like this.”

Popternative’s Christopher Gallardo enjoyed the latest Now You See Me entry and described it as a “new-gen rivals old-gen story” that has a special flair:

“NOW YOU SEE ME: NOW YOU DON’T is an exciting thrill-ride with all the tricks and dazzle you’d want. It’s a ‘new-gen rivals old-gen’ story with a special flair that shines with it’s fun cast chemistry. Sessa, Greenblatt, and Smith especially rock all throughout!”

FandomWire’s PossesSEAN gave high praise to the movie’s “impressively staged set pieces,” calling the threequel a “great popcorn movie:”

“#NowYouSeeMe: NOW YOU DON’T was catnip for me — another exhilarating, funny caper with some of the most impressively staged set pieces of the year. A great blend of old and new that effectively ups the stakes and scale. What a great popcorn movie!”

Ethan Simmie of The Movie Draft Podcast admitted that Now You See Me: Now You Don’t went “full Mission: Impossible mode,” with him celebrating the fact that it was “some of the most fun” he’s had at the movies this year: 

“NOW YOU SEE ME: NOW YOU DON’T is some of the most fun I’ve had at the movies all year! This entry goes full Mission: Impossible mode and is hilarious, entertaining, and perfectly meta. I could watch one of these every single year forever. We really do come to the movies for magic.”

Directed by Ruben Fleischer, Now You See Me: Now You Don’t is one of the 12 biggest sequels in 2025. The movie has a stacked cast, including Jesse Eisenberg, Woody Harrelson, Isla Fisher, and Dave Franco. They are joined by newcomers Justice Smith, Ariana Greenblatt, Dominic Sessa, and Rosamund Pike. Now You See Me: Now You Don’t ⁠⁠⁠will premiere in theaters on November 14, 2025.

Now You See Me 3’s Success Could Lead to Franchise’s Promising Future 

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Based on the first wave of reactions, Now You See Me: Now You Don’t seems poised for success, which is good for the franchise’s future. Moreover, widespread critical praise could boost the movie’s box office returns.

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The long wait for Now You See Me: Now You Don’t could be seen as an advantage because it offers a sense of nostalgia to original fans. The nine-year gap also allowed the movie’s writers to strike an ideal balance, crafting intricate heists while establishing seamless chemistry between the returning cast and new additions.

If successful, Now You See Me: Now You Don’t could lead to future installments or potential spin-offs. With prequel entries to many recognizable franchises like Alien: Earth (read more about Season 2 here) and It: Welcome to Derry finding success in streaming, the threequel’s triumph at the box office could push Lionsgate to explore a spin-off focusing on the younger versions of the Horsemen. 

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Movie Review: ‘Roofman’ offers great acting, comic relief and a true story

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Movie Review: ‘Roofman’ offers great acting, comic relief and a true story

Of all the crazy things to happen in 2025 so far, was anybody expecting two filmmakers with reputations for being melodramatic– Darren Aronofsky and Derek Cianfrance — to branch out of their comfort zones and direct light-hearted films set in the late 1990s with a lot of comic relief?

Last month it was Aronofsky with Caught Stealing, and now Cianfrance gives us Roofman. Inspired by real incidents throughout North Carolina, Roofman is now one of my favorite movies of the year.

In late 1998, Jeffrey Manchester (Channing Tatum) is a divorced dad with a military background who is unemployed and can barely afford his kids’ birthday presents. Despite his failures, Jeff is very good on his feet and can come up with a plan and execute it very quickly — such as breaking into McDonald’s and stealing from the register to make up for his mistakes to his family.

But when he’s busted for a kidnapping along with a robbery and sent to prison, Jeff successfully breaks out and secretly begins living in the ceiling of a Toys “R” Us outside Charlotte, NC. Things take an unexpected turn when he becomes friendly with one of the store’s employees, single mom Leigh Wainscott (Kirsten Dunst), who is active in the choir and toy drive of the town’s Presbyterian church.

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LaKeith Stanfield, Peter Dinklage, Emory Cohen, Juno Temple, Melonie Diaz, Ben Mendelsohn and Jimmy O. Yang are some of the recognizable faces in the supporting cast. Roofman was co-written by Cianfrance and Kirt Gunn, and is the director’s return to the big screen following his HBO mini-series “I Know This Much is True” (2020).

Besides being an funny and charming comedy-drama, the new picture also counters Kogonada’s A Big, Bold, Beautiful Journey in reminding us that product placement incorporated into a plot can be easily forgiven, or at least less distracting, if the story and final product are good enough. Though lighter in tone than his usual projects, Roofman does still have the cinematic DNA Cianfrance is known for, and it works well with a fairly modest story.

Tatum remains one of the best leading men of his generation and Dunst, a lifelong favorite actress of mine, delivers the best performance in the movie, even making me cry during a scene near the end. If spooky films aren’t your thing during October, Roofman gets a recommendation from me this month.


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