Dracula: Voyage of the Demeter
Reżyseria:
André ØvredalMuzyka:
Bear McCrearyObsada:
Corey Hawkins, David Dastmalchian, Liam Cunningham, Aisling Franciosi, Javier Botet, Stefan Kapicic, Jon Jon Briones, Woody Norman, Chris Walley (więcej)VOD (2)
Opisy(1)
To miał być kolejny zwyczajny rejs. Morze było spokojne, prognozy nie zapowiadały sztormu. Gdy szkuner „Demeter” odbił od nabrzeża, nikt z załogi nie wiedział, że w jednej z dwudziestu czterech nieoznakowanych skrzyń znajdujących się na pokładzie, kryje się zło. Zapadł zmrok, a statek był na pełnym morzu, gdy odkryto pierwszą ofiarę. Wołanie o pomoc nie miało już sensu, a walka o przetrwanie okazała się boleśnie nierówna. Każda kolejna noc przynosiła śmierć, a istota będąca jej sprawcą pozostawała nieuchwytna. Im bliżej było do londyńskiego portu, tym bardziej oczywisty stawał się fakt, że najgorsze dopiero nadchodzi. (Monolith)
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Recenzje (4)
André Øvredal and his gothic boat vampire horror based on Stoker's novel. I have to say that I like Øvredal, he is an active horror filmmaker and chooses interesting and unconventional horror genre films, though not always as good as The Autopsy of Jane Doe (he probably won't top that one), but he never outright pisses me off and doesn't try for any arthouse or ambitious works. In short, rewarding horror entertainment, of which there is never enough. A lot was expected from The Last Voyage of the Demeter, and early overseas reviews suggested it probably wouldn't be the horror film of the year, which I can confirm, but it's still very attractive and likeable, and as a true horror fan, I feel the need to express my gratitude that we didn't get another bland ghost movie, another bland slasher or another family friendly twillight vampire flick, but a shipboard vampire gothic horror, I welcome that. I’m pleased with the above-par craftsmanship, the likeable characters, the good music, the decent looking Dracula (again it could have been some ugly CGI shit, but there's a Javier Botet creature feature again!). The atmosphere works: the ship, fog, storm, sailors and a dangerous Cargo is simply rewarding. It's nice to that it’s not PG-13, and it's pretty gritty in places, I found it relatively satisfying. I appreciated that the film isn't afraid to break down conventional horror boundaries, like the breaking the rule that women and children are safe, which I applaud. Sure, the scares don't work, but who cares. It's a fun clash between Dracula and the sailors on a ship. Take it or leave it. 7/10.
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A DreamWorks/Universal cinema release at the same level of quality as a below-average Netflix B-movie. The film starts promisingly with nice production design and the well-rendered and well-lighted gloomy interiors of the ship. Dracula’s first appearance and the atmospheric murders of the initial victims are spectacular. However, the film starts to fall apart in the second half, as the escalating tension is replaced by badly edited dramatic scenes, the nice CGI is supplanted by tacky dawn combustion and, thanks to the hopelessly deteriorating screenplay, the characters lose the contours of meaning that they possessed at the beginning. The self-assured Van Helsing-esque epilogue is then nothing more than laughable.
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An unexpectedly honest, dark atmosphere, a monster with dignity worthy of Nosferatu. I’ll even forgive the occasional CGI blunder, which I would have rather expected in the realm of Van Helsing. Nice casting of all characters, and Øvredal gives his protagonists sufficient spaces so that viewers can root for them with the chilling certainty that they will see them die an ugly death one by one. Personally, I would ease up on the money shots with the vampires, add more practical effects and take the approach of stifling nautical conversational flicks in the style of The Terror and The North Water. In the end, however, I consider this nicely balanced mix of modern horror, gothic morbidity and tribute to Universal in the 1950s to be very successful, even though the effort to establish a new lore at the end is a bit humorous. But hand on heart (pierced by a stake), who doesn’t want to see that morbid hunched figure in disguise, wearing a hat and carrying a cane?
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Aboard the ship Nostromo—sorry, Demeter—there's an alien. Its insides throb with terrifying noises, no one can hear your screams on the open sea, and the crew members wear numbers on their backs to indicate the order in which they will meet the god who has forsaken them. The key difference is that while the cat Jones survived back then, here the pets are the first to go. Except for Liam Cunningham, I didn't believe any of the characters were from that era; at least ten extra minutes are taken up by aimless conversations that dilute the atmosphere, and the winged Transylvanian orc drowns too much in digital muck. The expectations for a sea voyage from Varna to Whitby turned into disappointment. The final hints with the Congo doctor Abraham are best left unexplored. Let's see what Eggers brings to the field of Nosferatu.
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