‘Nosferatu’ 4K Ultra HD movie review

Director Robert Eggers’ macabre masterpiece invigorated the gothic horror film genre late last year by resurrecting an ancient cinematic icon from vampire lore.

Creeping from silver screens to home theaters in the 4K disc format, Nosferatu (Universal Studios Home Entertainment, not rated, 1.66:1 aspect ratio, 136 minutes, $29.99) arrives to envelope viewers in dread.

Set in the early 19th century in the German town of Wisburg, the shocking tale finds a recently wed real estate agent Thomas Hutter (Nicholas Hoult) who must leave his new bride Ellen (Lily-Rose Depp) and travel to Transylvania. He must finalize a sale of a German mansion to the elderly Count Orlok (Bill Skarsgård) to secure his job in the firm.

Ellen dreams of something terrible to happen if he leaves, but Thomas discounts her concerns and eventually meets the disgustingly mesmerizing and vampiric Orlok who refuses to let him leave his castle.

Orlok, obsessed with Ellen through a previous psychic connection, travels to Wisburg and unleashes a plague while attempting to possess his love from afar, causing her visions and seizures.

Thomas finally escapes and returns home to witness the devastation while friends seek out occult expert Prof. Albin Eberhart von Franz (Willem Dafoe) to examine Ellen. His diagnosis leads to seeking out the evil count who must be destroyed.

However, it may be beauty only that can slay this beast in a finale that guarantees nightmares to those who view the unholy encounter.

Mr. Eggers’ multidecade obsession of remaking the 1922 classic “Nosferatu: A Symphony of Horror,” even producing a Dracula-style play in high school that went to Broadway, succeeds handsomely through hyper-stylish cinematography; mesmerizing performances (Mr. Skarsgård in his scariest performance to date); and a penchant to display grotesque sexuality and gory violence.

His devotion to the source material, including his ability to suck an audience into his horror universe, gets further refined by presenting the most authentic Dracula ever on the screen.

This adapted Count Orlok debuts dressed as a Transylvanian nobleman with authentic Hungarian attire from the 16th century and facial similarities to the Romanian ruler Vlad “the Impaler” Dracula.

Viewers smitten by Transylvanian lore will immediately applaud the director tapping into this ancient, historical mythology.

Suffice it to report, “Nosferatu” is an immediate classic.

For comparison, one of my gold standards for classic and stylish vampire cinema was Francis Ford Coppola’s “Bram Stokers’ Dracula” which now looks like a Saturday morning cartoon compared to Mr. Eggers’ effort.

4K in action: The technology that allows for a crisp and colorful 4K presentations is often unnecessary in “Nosferatu,” as the cinematography of Jarin Blaschke often and intentionally envelopes viewers in a shadowy, dark and intentional hazy visual design.

One could have easily appreciated, and may have preferred, this movie in black and white using tattered film stock from the 1920s.

Still, if one must embrace its desaturated color palette, then gaze in wonder upon the mountains of Transylvania; or Thomas standing in the middle of a crossroad revealed by a blue moonlight; or Count Orlok’s main chamber only lit by the orangish reds of an intense fireplace.

Mr. Eggers’ clever updated ode to the original now in 2160p further reveals a massive shadow of the count’s clawed and gnarled hand drifting over the town looking for his love (a welcomed homage); and the horror of a vampire relieving its latest victim of blood. The later might have been better hidden in shadows to quell bad dreams.

Let’s also admire the Dolby Atmos sound mix aurally exploiting for a chilling effect all of Count Orlok’s wheezing, rasping, labored breathing, cackling and growling, especially as he sucks blood.

Best extras: Viewers get two versions of the film, the theatrical cut and a slightly extended cut adding roughly four minutes, including some extra Orlok dialogue during his meeting with Thomas at his castle.

Next, and as always preferred, viewers first get to hear from the director on a solo optional commentary track for both cuts of the film.

Mr. Eggers does not disappoint covering topics such as the retro opening logo credits (based on silent film designs); the count speaking ancient Dacian (a dead Romania language); production design tricks for shooting specific scene angles; shooting locations (including use of the Pernstejn Castle in the Czech Republic); vampire folklore; comparing source material to the film; and the ornate architecture.

He even offers details such as the makeup designer adding a bit of psoriasis to a character’s head; the snow was made out of potato flakes; and Ms. Depp’s movement choreographer was an expert in Japanese Butoh dance theater.

Viewers also get a six-part look at the movie (roughly 40 minutes long) exploring creating Count Orlok; shooting in candlelight with real candles; building sets to accommodate camera movements; creating roughly 80 sets accurate to the time period; designing elaborate Victorian costuming; having digital visual effects enhance the practical effects; the musical score; and, of course, working with 2,000 live rats.