All Robert Eggers films (including Nosferatu) rated

In an impressively short period of time, Robert Eggers has made a name for himself as a unique and acclaimed filmmaker. After bursting onto the scene in 2015 with The Witch, Eggers has directed a series of strange, dark, and unforgettable films known for their supernatural and otherworldly stories as well as their dedication to accurately recreating the past. All of Eggers’ films to date, including this year’s vampire horror “Nosferatu,” are set in a bygone era, and Eggers and his teams take great care to make these slices of history feel authentic, as if we’re not so much watching them as recreations but actually peering into the past. same. To date, all of Eggers’ films are either full-blown horror tales or at least take on horror, and he has become a favorite among fans of the genre. Speaking for myself, I can shamelessly say that I either like or love all of Eggers’ films so far. Even his “weakest” films are still very good, and I get really excited whenever a new Robert Eggers film comes out. In honor of “Nosferatu” (You can read my review here), I’ve gone ahead and rated all four of Robert Eggers’ films. Remember: I think all of these movies are good. It’s just that some are better than others.

After two relatively small films, Robert Eggers has his biggest budget yet “northern man” A star-studded Viking saga that blends Hamlet with Norse mythology. As the film begins, young Amleth, a Viking prince, watches as his beloved father, King Orvandel Warraven (Ethan Hawke), is murdered by his uncle Fjolnir (Klass Bang). Fjolnir marries Amleth’s mother, Queen Gudrun (Nicole Kidman), and takes the throne, while Amleth flees and swears revenge one day. Years later, Amleth has grown up and is played by an alarmingly tattered Alexander Skarsgård, looking as if hewn from a tree trunk. After disguising himself as a slave, Amleth returns home with a plot for revenge. Along the way, he teams up with an attractive witch named Olga (Anya Taylor-Joy) and they proceed to slaughter anyone who gets in his way. “The Northman” is gorgeously shot, full of memorable moments (Björk even appears playing a blind witch!) from his depth) and many big action scenes.

In 2015, Robert Eggers arrived seemingly out of nowhere with The Witch, the film that started… Anya Taylor-Joy’s path to stardom. In her feature debut, Taylor-Joy plays Thomasin, a teenage girl living with her family on the edge of the woods in 1630s New England. The piety of Thomasin’s father (Ralph Ineson) led to the family being expelled from their Puritan community, and they now live isolated lives, struggling to survive. One day, Thomasin’s newborn brother disappears, seemingly right before Thomasin’s eyes, and this event unleashes a wave of malicious misfortune upon the family. Is it just bad luck or are there supernatural forces at work? With his debut, Eggers proved he was shockingly confident: that’s not the case feel Like the first person to wander behind the camera. Eggers knew exactly how to build horror, all while going to great lengths to recreate the film’s historical motifs. It all leads to one of the most memorable endings in horror history, when the family goat, Black Phillip, reveals that he is much more than just a piece of livestock. “The Witch” was creepy in an almost elegant way, and was a great start to Eggers’ feature filmmaking career.

Eggers’ latest work does the impossible: it makes vampires scary again. With “Nosferatu,” Eggers isn’t breaking entirely new ground: the film is not only based on several different adaptations of Bram Stoker’s “Dracula,” but it’s also a remake of “Dracula.” F.W. Murnau’s 1922 silent classicwhich was of course an “unofficial” adaptation of Stoker’s novel. However, although the story of “Nosferatu” will be familiar to vampire fans, Eggers manages to make his film fresh and truly terrifying thanks to his attention to detail and his cast. Lily-Rose Depp is something of a revelation as Elaine, a tormented and heartbroken young woman who becomes the target of Count Orlok, an ancient vampire who travels to Germany to search for her, unleashing death and plague along the way. Channeling Isabelle Adjani’s terrifying performance in “Possession,” Depp literally throws herself into the role as she wrestles with her own inner demons that serve as a kind of catnip for Orlok. As for Orlok himself, he’s played by Bill Skarsgård, who lowers his voice an octave and creates one of the most memorable vampire films in recent memory. Skarsgård’s Orlok, with his guttural accent and waxy complexion, feels positively inhuman as he follows the film’s shadows. Eggers makes all of this very scary, but he remembers to have fun, too, by casting Willem Dafoe as a perverted vampire hunter and Aaron Taylor-Johnson as a stuffy aristocrat who can’t understand why all the women around him are bullshitting. He’s acting very hysterical. “Nosferatu” feels like Eggers’ most nuanced film yet; A summary of everything he’s learned so far, and used to great effect.

It’s strange, scary, and very funny. “The Lighthouse” It is the best film directed by Robert Eggers to date. A frantic story of two men trapped on a cursed rock, “The Lighthouse” is a buddy portrait, a psychosexual drama, a murder mystery, a dark comedy, and so much more. Small in size but huge in impact, The Lighthouse proves that if you put two great actors in a tight space and let them run wild, magic happens. It will be messy magic, but magic nonetheless. Robert Pattinson plays Ephraim Winslow, a drifter who takes a job as “Wicky,” helping maintain a lighthouse on a deserted island off the coast of New England. Winslow’s colleague and boss is Thomas Wick, a puffy drunk played by Willem Dafoe (Dafoe has been in three of Eggers’ four films so far, and I hope they keep working together forever). Wick assigns Winslow all the heavy lifting, while he handles the lighting in the lighthouse tower. Resentment builds and with it comes madness as time begins to lose all meaning and soon the two men are out of it. You can Kind of Understand all this if you pay close attention, but in the end, it doesn’t really matter. What matters is the sense of madness that Eggers and his two leads are able to create as the film heads toward its horrific conclusion.