371: Nosferatu (2024)

SPEAKER_02 0:04

You did it all for the fucking Nuki.

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The Nuckie.

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The Nuckie. 2024 really was Limp Biscuits year.

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Greetings and salutations, and welcome to Hackerslash. If you're joining us again, welcome back. You awaken me from an eternity of darkness. If this is your first time listening, welcome to the party. We are a horror movie review podcast dedicated to telling you whether a movie is a hack, a total joke, a waste of time, or a splash. Totally killer, pun intended. We believe horror is for everyone, and as such, we're writing these movies with the perspective we've gained from our varying walks of life and the flavors of fear we fancy most. My name is Chris, I'm your friendly neighborhood slash enthusiast. This week I'm joined by the classic horror connoisseur Sean.

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By first crow of cock!

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And the paranormal paramour, Binks.

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I am an appetite, nothing more.

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This week we're kicking off the new year with a 2024 remake of a film that's more than a century old.

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And if you support the show by being a patron, you'll also get to hear our B side at the end of this episode where we break down mustaches on vampires.

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Before we bare our fangs and suck some blood, though, we've got some follow-up.

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Let's follow up on some stuff. So as the new year dawns, folks, we're sinking our teeth into 2025. And we're doing so with a killer deal for all of our listeners. From now until January 31st, our new year, New Blood campaign is live. It's designed for anyone ready to explore all the bloody good bonus content that we offer. Let me just tell you, here's how it works, okay? So if you sign up as a patron this month, you'll get 25% off your first year or month of membership, which is absolutely incredible.

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It's pretty substantial.

SPEAKER_01 1:56

It's pretty awesome. And that means you're gonna get access to exclusive B-sides where we get into all kinds of wild conversation. You're gonna be able to take part in watch-alongs like the Nosferatu commentary Chris and I just recorded, which was super fun. You're gonna be able to access rewinds and even the chance to nominate and vote on upcoming movies for our lineup so you can be a part of what we watch next. And for those ready to go deeper into the darkness, our slasher four tier unlacks the crypt, which is 132 episodes from our archive that are being resurrected from the dead. These are episodes from co-hosts from Lost Times. It's really taken a turn. You get to see everything from start to finish. Chris being the one true constant of the show.

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Some might say I'm an immortal vampire.

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Immortal.

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Undead, if you will.

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Myths and legends. Yeah, these episodes are just really a lot of fun. They're reintroduced with a video series packed with new insights and reflections on how our show has evolved over the years. So don't miss this chance to join our horror-loving community and slash your way into a new year with us. This deal is only here until January 31st. So now is the time to make your move, folks. Now is the time. The time is nigh.

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Come on over. Come on over, baby.

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And that's our follow-up.

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Well, this week's film shows us the reimagining of a 1922 silent film that helped shape the landscape of horror. The original film was an unauthorized adaptation of Brahm Stoker's Dracula novel, and Stoker's widow won a legal battle that demanded all the copies of the film be destroyed. Nevertheless, copies of the film survived in spite of near extinction, and ultimately became one of the most influential films of its kind. So influential, in fact, it has inspired generations of filmmakers and pioneered the visual language of gothic horror that still persists today. More than a century later, Robert Eggers has reimagined the story for a new generation. Eggers' vision stays true to his reputation for atmospheric period pieces, and brings us back to a world of shadowy castles and creeping dread. Like its predecessor, this remake explores the obsessive connection between a vampire and a young woman, set against the backdrop of the untold horrors that follow in his wake. This week we're talking about Nosferatu. What were you both expecting going into this?

SPEAKER_01 4:32

Well, I will just tell you, the journey leading up to this movie's release was absolutely wild for me. There were a lot of ups and there were a lot of downs. I feel like when I first heard about this film being made, I was so weary of this movie. I was like, I don't know, guys. I'm not sure. I honestly thought it was actually doomed to be bad. But then I realized that it's Robert Eggers making this film, you know, and he made The Witch one of my favorites and The Northmen, right? But then I also remembered that I didn't really get into the Lighthouse. I'm sorry. A lot of people really love that movie. I just maybe I need another watch, but I didn't get into it despite its high regard. And I got a little worried again. I'm gonna be honest. This was kind of like an emotional roller coaster running through my head because this is an iconic film that I love from 1922, and I really want it to be handled right when we're talking about remakes, and a lot of remakes just aren't really that good. And so I don't know, it was tough. But the more I kept hearing about this movie, the more positive things that I heard. And they also promoted the shit out of this movie. There was fucking merch being advertised, a whole storefront before the film even came out, right? Like they were really pushing this movie, and I kept hearing such praise and such hype and best horror movie of 2024, the most horrifying Christmas experience. So I gotta admit, I ended up going into this one super hyped with extremely high expectations.

SPEAKER_04 6:01

I mean, you're the connoisseur, right? The first thing that crossed my mind when this movie came out was just the curiosity of how you were gonna receive it. So now hearing it in in full and how you were actually like kind of unsure, knowing that Eggers was gonna be the director is so fascinating. Because I think for me, I always thought that it was gonna be exceptional. I really had no doubt. I thought that the thing about Eggers in particular, being at the helm, I swear, I've got my friends that are witnesses. I thought that this man had made so many films. He's literally only made three other ones. It feels like this man has made so many films that are just incredible. Why? I don't even know. And I think it's because the films that he has made are so great, like they're masterpieces. And even if you maybe some don't hit, it's funny that you like the Northmen, I do too. I would actually think that maybe the Northmen's the one that's like the least well received out of the three. But regardless, like it's it hits four different pockets of people, right? So I thought it was always gonna be fantastic. And I actually had seen the OG Nosferatu, the silent film, in a really fun way a few months prior. It was a part of this thing called Silent Synced, where they overdubbed the the film with Radiohead's Kid A and Amnesiac albums. It was so fucking cool. Interesting. And that only hyped me up even more. It hyped me up even more because I'm like, what are they gonna do with this adaptation? You know, like the possibilities almost feel endless. I've only seen that OG one. I actually haven't completed it, but I've known enough about it in general. And I'm like, anything is possible, right? So with him at the helm, with having a lot of playtime, right, with what could be done, I was like, I know it's gonna be atmospheric and I think it's gonna be a great film. It's just nuts that it's right at the end, like right at the witching hour, as some say, right? The very end of the year. It's like all this anticipation waiting for the film to come out and then it's finally here, is it's a good feeling.

SPEAKER_02 7:59

Yeah, and that's really a bold strategy to build so much up and then see if it can live up to that hype and really the promise that it makes. But Bings, just to clarify, you hadn't seen the original Nosphara 2 before the version that you saw with Radiohead.

SPEAKER_04 8:15

Let's say that yeah, it was my first time because I remember seeing it again, like most of these old like classic films, right? With my grandfather like having it on the TV. But I'm a kid, right? And I remember a lot of it. I've seen so many clips, but I would say this is my first time that I've been able to sit down and watch, you know, and really like just no interruptions, be able to see it in silence, ironically, you know, in a way. But right, like really, really focus on hone in, yeah.

SPEAKER_02 8:40

Interesting. Okay. I've seen the original Nasferatu a few times. Sean and I actually just did a watch-along for our patrons, but who? Sean, we had a time because we watched the version that's available for shits and giggles in color.

SPEAKER_04 8:56

In color, okay. So I was I was just at my friend's house and they were they were watching the one in color, and I walked into their house and I saw it on the TV, and I was like, what in the fuck is this?

SPEAKER_02 9:06

Blasphemy.

SPEAKER_04 9:07

Yeah, it's pretty tough.

SPEAKER_02 9:08

Listen, we did it for the people. Yeah. All right. We did it for the people.

SPEAKER_01 9:12

Well, why not? Now we can say we saw it, you know?

SPEAKER_02 9:15

Yeah. I haven't seen the radio head version, and it's interesting that that's the one that you watched because with all the hype that's built for this movie, with all the commentary on it, with the excitement for it, I'm meeting more and more people every day who have never seen Nosferatu, have never heard of Nasferatu outside of SpongeBob, but are like, I watched it. I mean, some guy remixed it with Radiohead, and it was boring, and I fell asleep. And I'm like, fuck. What a tragedy. But here's the reality. You look at this modern age, there are people who are gonna appreciate Nosferatu for what it is and understand it, and that it is what it is, right? You can look past and get past the barrier of it being over a hundred years old. But then there are also some people who just won't, and that's also okay. They're not particularly inclined to getting into the origins of Nosferatu. That's just the reality of it, and it it's fine. However, I think I personally have not been incredibly attached to this film. I respect it and its place in history. I appreciate the story, I appreciate the differences that we get in our central character versus the Dracula source material. So it's something that I've enjoyed, but I think I've enjoyed it almost academically versus just sheer passion for it. So I don't think I have I share the same love for this that maybe Sean has. However, going into this, I'm like, all right, it could be fucking great or it can be real bad. Let me tell you, watching this, chilling in the theater, I was like, all right, it's over two hours long, but what a time. I was interested, I was locked in, ready to go the entire time. And I think that's a lot for a period piece because even as incredible as the witch was, it drew itself out. There are little moments where I'm like, okay, a little bit bored here. This one, I was fucking locked in and ready. I mean, yeah.

SPEAKER_04 11:07

I completely agree. If we're gonna be honest about Egger's work, it's that it is a slow-paced situation. He takes his time with everything, right? And I think that that's okay and that's allowed and in purpose. It's necessary, especially in a story like this where it's really the foundation of it is a gothic literature, right? So gothic literature takes its time, it builds that tension. And so to be able to do that in film is so important. So I couldn't agree more. I have I don't know if I've ever really been like a die hard Dracula or Nosferatu person either. I do like vampires in general. I don't think anyone can compare to Sean, obviously. I mean, if you you can clearly see his background, he's got like three pieces of Dracula merch on his desk, right? Meanwhile, though, in my background, if you can't tell what that is, that's literally the movie poster of Nosferatu frames. So we're starting. I'm trying to, I'm trying to be like Sean. Love it.

SPEAKER_02 11:59

Meanwhile, I just got fucking Michael Myers on my wall. And yeah, I got an Arthur Clown back there.

SPEAKER_04 12:04

Shocker. But so here's the thing. I I feel like that that poster being framed is an indication of how I felt about this movie. Chris and I got really lucky. There was an early screening by Focus Features that was hosted at our local theater. Unfortunately, I know Chris, you weren't able to make it. I was so lucky to make it. When I tell you that line was crazy long, I was one of the last people that got in with two of my friends. I can't even begin to tell you the visceral experience that I had. It almost feels like there's life before Nosferatu 2024 and life after Nosferatu 2024. Okay. I'm just being dead ass honest. So much so that in the time of this recording, I have already seen this movie three times. Okay. I saw it at that early screening, December 13th. Then on Christmas Day, I went early in the morning, first showing available with my mother. And then at night, right before bed, went to see it again with my friends. Who knows? By this Friday, by when this episode comes out, who knows? Jealous. If anything's possible.

SPEAKER_02 13:06

Something that I love here is that there are two types of people in the world. And by that I mean there are two types of people in this chat tonight. And that is Binx, who watches Nosferatu three times within a few days in theaters. And then there was Chris who watched Terrifier two or three times in theaters.

SPEAKER_04 13:24

You know? Yeah. And I love that about this, right? We're built different. And I did quote that, but some people are built different. Because here's the thing about Nosferatu and like that feeling that it evokes, and maybe you guys share this, right? It's visceral, it's uncomfortable, it's dark as shit. The atmosphere challenges you a bit at times, especially with curtain certain scenes. It's Victorian gothic, which, if that's your shit, man, you're gonna love it. I was eating it up. I was, I couldn't even believe it. The movie ended at that early premiere, my first screening, and I instantly told my friends, I am watching this first thing Christmas Day. I didn't even anticipate to have seen it twice, but as time went on, I remember telling you guys in the other recordings that we did. I'm like, I can't wait for you guys to see this movie. It's so fucking good. Yeah, I remember and I haven't felt like that leaving a theater in a bit. Maybe since the first omen in a way, because I loved the homages that film evoked, right? But just a singular story to have me wanting to see it again, to want to tell my friends, to be so excited, it's been a bit, honestly.

SPEAKER_01 14:25

That's true. I mean, if a movie can get you to want to see it more than once in theaters before it's out of theaters, it definitely has done something, right? And I'm right there with the both of you. I think there were so many feelings while watching this movie. One of the first feelings I had while watching this film was just how beautiful this movie really is. It's gothic, like you said, Binks. It's so gothic, it's so dark, but it's so visually stunning. The use of the lighting and the colors and the shadows, it was just visually captivating. Then I felt enthralled in the acting and the performances that we got, which we're gonna get to when we break down some of these characters in the spoiler zone. But yeah, I will say Robert Eggers definitely takes a while to really paint his picture, right? They're a little bit slower-paced films, they're historic period pieces and things like that. And then I could see it did feel a bit long in some moments, so I can see some people not being into that kind of thing. But for me, despite how long this movie was, and it was what 30-ish minutes, give or take, longer than the original 1922 version, but despite all of that, it kept me fully entertained because the visuals in this movie, from the set design to the costume design, all backed by that hauntingly beautiful score, really works, I feel like, to keep you in the movie. And I was just really, I don't know, just trying to take it all in because everything in this movie felt really intentional.

SPEAKER_02 15:56

Yeah, this is a movie that I need to see more. I want to definitely get it in at least one more time in theaters, and I can't wait till it's available to watch at home because this movie is just rich. The storytelling is rich, the production is rich, and it's very true to the original while also expanding it in really interesting ways. And that is something that actually presents a bit of a double-edged sword because I have one minor disappointment, and it's not a serious one, it's not anything that even takes away a minuscule amount of joy from this film, but it felt like something different was building plot-wise because of how much a certain character is expanded and relationships between characters are expanded. And so I thought, building up in this story, all right, I'm excited for the potential of what could be going on here. Are they gonna take a turn that I'm not gonna really see coming because I'm thinking, all right, is this gonna be perfectly aligned with the original? But we didn't get something very different, and I'll leverage more on that in the spoiler zone. Again, this movie is a really good remake of an adaptation, so you can't be too surprised about what happens here. It does retell the story, but it does so with a lot of power and a lot of emotion and a lot of depth. Yeah, but man, for for a moment there, I was like, holy shit, is Robert Eggers gonna change and change the story and flip the script?

SPEAKER_01 17:25

Yeah, I had a feeling there was gonna be sentiments about what I think you're talking about. You know what I mean? And we can't really get into it here. We're gonna get into it, so stick around for that. But I had a feeling that this was gonna be a conversation because it definitely does separate itself from what we've gotten in the past. So it will be interesting to break that down good or bad. I don't know. I would say I was surprised at how beautiful the movie is, like I was talking before, because of how much hype this movie had surrounding it, and the critics were saying all these good things about it, but it was just a really surprisingly beautiful film, it just looked so goddamn good, and I feel like I don't know what I expected. Like I think of different movies that Robert Eggers have done, and I love a lot of the work that he's done and what he's able to show is incredible, but I don't know why I was expecting something a little bit different, and I was really surprised at how beautiful some of these shots were, and I think even more so surprised at how well it pays homage to the original, and how well it really brings some of those iconic moments to life in a modern way.

SPEAKER_02 18:38

Listen, the original Nasferatu is known for its shadows, yeah. And known for a few really iconic moments.

SPEAKER_01 18:46

Yeah.

SPEAKER_02 18:47

So as brief as those are, and again, over a hundred years old, you have to wonder okay, how are we gonna recapture that? Like any remake of any film, there are notes or fibers woven into the DNA and the fabric of those films that when you recreate it, you have to respect it or deliver enough of a twist on it to acknowledge it. For me, this shows up a lot in quotes and dialogue and how certain notes of dialogue are landed. And a lot of that actually happens here in this movie. But I 100% agree with you, Sean. This movie is stunning to look at, and I think that's what also softens the blow of me identifying potential of something that didn't get fulfilled. Yeah.

SPEAKER_04 19:32

I agree with Sean that as I was watching the film, especially how it ended the second time that I saw it, I thought of you, Chris, and what your perspective was gonna be. So I'm excited for us to unpack it for sure because it was my biggest surprise if I think we're aligned on what we're aligned on, the shift of perspective. And we'll leave it at that. I think it'll be interesting to get into for sure. The other thing that surprised me, yes, was how visually stunning it was because it's literally art history 101. This whole film feels like a ton of paintings and Kirus Guru and all of these like things that you know you learn when you're in art history class, or if you've gone to a couple art museums and these famous paintings that you might know, like you probably subconsciously were recognized a couple things. So I loved that piece. But if I was gonna pinpoint another surprise was just the theater experience. I feel like we haven't had this kind of theater experience in a long while as well, where I'm seeing everybody, whether you are an avid consumer of horror or not, showing up to the theater, especially on Christmas Day, which is exciting, dressing up all goth because I love that shit, like just really being excited. There were tons of people messaging me on Instagram. They were like, Should I watch Nots for A too? I'm super excited. Should I? And they don't even really like horror movies that much. They're asking me if it's scary or not, right? They're asking me, would I be able to watch it? I kind of liked the 90s Dracula. Do you think it'll be okay? Like, and that's exciting. I it really brought people to the theater. And my answer to the fright factor of it all is I don't, it's not extremely scary. It's not traditionally scary. I say that pretty often, but I do think that there are elements of this film that will unsettle you, most definitely. Some very intense scenes. There was a moment there that I couldn't even believe was happening that I hadn't realized I was holding my breath the whole time. I was shocked. Some pretty gross stuff for sure. But this isn't a jump scare film. Quite frankly, none of the Dracula or Nosferatu films really are. That's not the point of it, right? Maybe there's one jump scare in this film, if that, right? If we want to consider it, but what's right. I think we know the one. I just feel like to an extent, what happens, that atmosphere that Eggers has established is what's scary. But I think you can power through if this is something that you just don't dabble in enough, just know that it is dark. The theme is dark. So if that's not your kind of cup of tea, then maybe this isn't the film for you, right?

SPEAKER_02 21:58

Far be it from me to say that. Movie about this much death, despair, petulance, and plague is fun for the whole family because it is not, but also it's palatable for all you non-horror fans. What's interesting being I didn't have the full theater experience. I wish I had gone to the early screening. I had tickets for Christmas Eve, my work schedule changed. Then on Christmas Day, I was just so exhausted, and I ended up seeing it on the 26th in the afternoon with three other people in the theater. Almost no one. They were silent the entire time. I was surprised to see that because as I was booking and rescheduling and rebooking tickets all those days, every single theater was full, like jam-packed. So I was surprised that mine was so empty. But let me tell you how this movie has everybody coming out of the woodworks. It really is bringing a lot of people out together because there's a lot of things to appreciate in here. And that's why when you talk about that fright, I think there's arguably more than one moment that's intended to be a jump scare. If you're a seasoned horror fan, this shit is not gonna get you. But if you have your non-horror friends going into the audience with you, they're gonna get caught.

SPEAKER_03 23:15

Yeah.

SPEAKER_02 23:16

Or they're gonna say, ew, me, and get the heebie jeebies.

SPEAKER_01 23:21

Yeah, for sure. Thinks I also had people asking me if this movie was scary, right? When people bring it up, they're like, Oh my god, or have you seen Nasferatu? Is it scary? And you know what? The answer really is what is scary to you? You know what I mean? I don't think this movie is scary in terms of your run-of-the-mill horror flick. We're talking about like really good jump scares that are really trying to get you. There might be some stuff, if you get easily scared from jump scares, maybe a couple of these moments will get you, but this movie is scary, I think, in the way that classic monster movies were probably scary back in the day. This movie builds dread. There is a lurking sense of dread about this film. It's so dark and so gothic and so macabre that it's truly, I feel like, a horrifying experience to watch visually, but it really all just comes down to how you define scary for yourself because I think people can watch something this dark and be truly troubled by something like this, and so it really just depends on what scares you.

SPEAKER_02 24:28

It really does, and I think a lot of this movie's effectiveness is attributed to how honestly different it feels. We think about the material that it's adapted from, Nasferatu, the original film is already different from that. It's slightly, it's it's small changes, all the character names are changed, a lot of the premise and story beats are similar, but the spirit of it and the spirit of Count Orlock is different. But then you have this movie that's a remake of an adaptation, and it's charged with this idea of okay, how can you possibly surprise me? How can you possibly do something different besides take a silent film but make it rich, give it more texture, give it more flavor, and advance it with modern technology? But when we talk about what these people did, there are a lot of differences here from the original source material. And I can't wait to get into it in the spoiler zone when we unpack this after the break. But there is enough in here where Robert Eggers and the entire production team should pat themselves on the back because I think this is such a masterful execution of yes, we're remaking something, we have something to honor, but we're gonna put our own spin on it.

SPEAKER_04 25:40

And it is interesting because going back to how we were saying this is a film that non-horror fans can go to, I want to talk a little bit about how a lot of them may not know what Nosferatu is at all. And I've seen some discourse on the internet being like, oh, this is a ripoff of Dracula, you know, and it's like bless your heart, you know. They don't know. They don't know that, duh. They don't know that, yeah, what's new? We know this, right? However, like you just said, Chris, this dares to do something different despite that. There's a lot of the same homages and beats to the original Nazver A2, but of course, because that's necessary. It is a remake, but it does pivot. And I think that's what's cool. I think it's daring, and it's what really makes it stand out. Not I'm gonna maybe say a hot take, Sean, don't kill me. But to me, I feel like this Nazferatu is gonna like really stay with me a lot more than the others, and it's certainly gonna stay with me a lot more than the Dracula films, personally, because of what it dared to do. But again, we can't talk too much about it because it would be a spoiler. So I can't wait to talk more.

SPEAKER_02 26:53

Well, we can say enough that that was actually gonna be something that I mentioned in my scoring. So I don't disagree with you.

SPEAKER_01 27:00

There we go. It is something to be said, right? I feel like the original 1922 film became this kind of cult following film because it should have never been, right? We know that the filmmakers were sued for making the film by Stoker's estate or his wife or whatever, and because of that, it was court-ordered to burn every copy, and thank God for these bootleggers that kept it around. Like there was copies scattered around in different countries and things, and it slipped through. Yo-ho, yo ho, you know, and it slipped through, and it has gained a cult following, it's gotten more popular to the point where they've been able to re-release this movie and revamp it and make it sound good, you know what I mean, with the score and things like that. But Robert Eggers really took this on, and what I love about Robert Eggers is his attention to detail and his ability to really put you in one of these films. And so I feel like he's able to take this classic silent film and turn it into this modern gothic tale while twisting some of these characters around a bit and adding a little more context to a story we've been watching for over a hundred years. So for that, it has to have some originality, and I love to see it.

SPEAKER_02 28:20

I will tell you one thing though, and this is a regret that I have. We were redoing our lineup a few different times. We had to try to get some things in, things were gonna be challenging, we need a little bit of time at the end of December last year, and we were originally going to cover this movie at the end of the month and then do Y2K for the new year. We ended up swapping. It was gonna be a lot easier, Y2K came out earlier in December, etc. I need you to know right now, friends, and I'm gonna reveal this in the spoiler zone, this exact exact reason why. I regret having Fred Durst in my mind when watching the ending of this movie.

SPEAKER_04 29:01

I think I know why.

SPEAKER_00 29:02

I think I know why. Oh Lord.

SPEAKER_02 29:05

I will reveal why later. Don't take any guesses, but I need you to know that my view of this ending was tainted, even though you've already seen what this story can hold, and you already know possible directions that it can go. This one thing haunted me. But even that aside, and this fucking hilarious thing that I just like had blaring through my head while watching this, holy shit, is this ending powerful. It is haunting, it is grotesque, it is one hell of a fucking time, and I really wish I hadn't seen it alone. I'm comfortable to watch movies alone and go to the theater alone, etc. But this is a moment where I would have wanted to watch someone's face watching this ending.

SPEAKER_01 29:49

Yeah.

SPEAKER_02 29:50

If they didn't know what was coming. You know what I mean?

SPEAKER_01 29:52

Yeah, absolutely. I don't know. I think the third act as a whole leading into the ending, I could say there's maybe a couple of things that I think maybe there's some minor flaws in the third act going into the ending, but the ending of this film was absolutely fantastic. I think the whole Death and the Maiden themes are heavily prevalent throughout this film, especially in the ending. I think the final shots were so it was so horrific yet so beautiful. Like you had these almost mixed emotions at the end of the film. Like you got to see different sides of different characters, and I think that was kind of special to watch. And I loved it, and I can't wait to talk about it in more detail. I I don't know what else to really say without giving anything away. So I'm just gonna leave it at that.

SPEAKER_04 30:36

Yeah, I love that you brought up Death in the Maining because that's what I thought of too. It goes back to what I was saying. This whole film is literally art history, it's painting after painting after painting. Yeah, it's lovers of Valadero, it's just tragic and it's beautiful. And I agree, it's one of those things where you get to the ending, and I'm sure the the look on people's faces if they're watching it for the first time and they don't know what's gonna happen is like jaw-dropped, like, oh shit. So yeah, I I think it sticks the landing so well.

SPEAKER_02 31:07

Well, let's not hold back then and start making our way to our ratings before we actually score Nosferatu. Sean, how would you describe the gore score?

SPEAKER_01 31:16

It's really interesting. I think there's actually a decent amount of blood in this film. I think it's super tasteful, though, I would say. I feel like you're getting a more primal version of a Dracula-type character presented as Count Orlock. And with that, I feel like the attacks feel a little bit more gory, right? They don't feel like you're run-of-the-mill vampire. And we also get a couple of moments that are really intense to watch. But as dark as this movie is, as horrific as some of this imagery is, I would say this movie still lands in medium territory.

SPEAKER_02 31:51

And what about the animal report?

SPEAKER_04 31:53

Yeah, well, thousands of rats, some of which were trained, by the way, were used in this film, okay? And if you thought this animal report was gonna be safe, you are so, so mistaken, friends. It's like I like to say sometimes the show, it's mega fucked, okay? Like close-up shot of some pretty unsavory things, like you want to look away, type fucked. And uh PETA, I would really feel like Eggers has heard from them already. He's had the discussions, he's had the board meeting. So prepare yourself for sure.

SPEAKER_02 32:26

To be fair, the pipeline of Dracula and Renfield to Terrifier 3. Who knows? Somewhere in there in that spectrum is Nosferatu.

SPEAKER_04 32:37

Sean with the pigeon sounds in the background is key, by the way.

SPEAKER_02 32:40

That just let's go ahead and get into our ratings. Nosferatu from 2024 was the hack or slash.

SPEAKER_01 32:47

I'll go ahead and kick us off. I know that I had my doubts when I first heard about this movie, and I do think there were some very minor issues with the movies, I would say less serious than anything, right? But you know, with every movie, there's gonna be some flaws. But as good as the reviews that this movie was getting, it was giving me a lot of hype. Once I started watching this film, I realized this is probably nothing short of a stunning masterpiece of cinema. Like you could tell from the early scenes, and man, it's a gothic horror remake that pays homage to the classic silent film from 1922. It's a film that we almost lost and never would have had, but we did, and it has really successfully redefined its haunting legacy for a modern audience, which I think is something really special, right? We get a lot of remakes and reboots and things of classic films, and they don't always hold up. And I love that this generation is getting introduced to Nasferatu. I think it's super special. I think it means that more people are going to go back and even watch the 1922 version as well, as they should. And man, there's just an attention to detail that I feel like only Robert Eggers can give, especially with the historical detail that he always provides in his films and the atmospheric storytelling, I think, feels really fresh, but it also feels really timeless at the same time. I think the movie is visually, it's just amazing. And I think Eggers transforms almost every frame of this movie into this almost macabre piece of art. It gives you those eerie shadows, it gives you those muted tones that I think really evoke German expressionists, and it really pays homage to the roots that it came from with the original film. The cinematography in this film is truly stunning. I think the way that they play with light and shadows to really conjure the dread and capture the beauty is just done masterfully. The cast, I think, delivers really compelling and memorable performances, even down to some of the supporting roles, right? Which you don't always get. Like we're not just talking about our leads, we're talking about the supporting roles. Man, Lily Rose Depp, Nicholas Holt, Bill Skarsgard, they help to breathe new life into these iconic characters. I really could go on all day, but to wrap it all up, I feel like Nasfer Atu isn't just a remake. I think it's a love letter to the genre. I think it's cementing Robert Eger's place as one of modern horror's greatest visionaries. I think, take it from me, the classic horror connoisseur, right? Whether you're a fan of the original or coming to the story fresh, I think this film is gonna stay with you for long after the credits roll. And I feel like it's really a chilling reminder of how beautifully terrifying cinema can really be, and I think it's an eternal slash.

SPEAKER_04 35:53

Absolutely. Couldn't say it better myself. It's funny that this film we're recording it and we're debuting at the first of the year. Something special about that. Of course, I wish that we had maybe ended the year, you know, 2024 talking about it because the thing about this film is although I expected it to be incredible, I never could have anticipated that it was gonna hit me the way it hit me. Like a train ran over me, my heart broken, repulstered together. I was not expecting that at all. It just is one of those films that does stay with you for a long time, well after the credits roll. Like you said, Sean, I I can't say it better. And I will say, though, that the beauty of it is that you can really see Egger's passion about period pieces here. This is that film where you really, really see it. You know, Nasferatu has been a passion of his since he was much younger, starting with a theater play that he had written. And it you can tell that he's been waiting for this moment. And now that it's finally here, it's just like almost like revitalizing the genre in a new way, bringing in more people that we never could have anticipated, bringing people back to the theater. I love it. I live for that stuff. And then on top of that, too, to dare to change just enough to explore a new perspective. I'll say to talk about women in general, to talk about mental health, to talk about all of these things that Nasferatu symbolizes in ways that maybe you didn't really pick up on with the silent film, of course. But it's just really, really nice to see. And it evokes conversation with people that I haven't been able to talk about dark and deep things that I've been feeling in a way that I never would have felt vulnerable and safe to do if it wasn't for this film. So I think that this film has left a big impact on me. I wouldn't be seeing a movie three fucking times in the last two weeks. I don't, I know that I watch a lot of movies, okay? I've already passed 400 at this point for 2024. I get it. But I'm not one to re-watch a movie constantly, so consecutively, not even for Gone Girl, okay? And that just tells you. But I I felt like this need, like Nas for All two is calling me. So it ended up being my favorite horror of 2024. Never couldn't have anticipated that. It ended up being my favorite movie of the year. Definitely didn't think that was gonna happen. And so looking into 2025 and what's gonna come after this, I don't know. I don't know how the end of the year awards is gonna be, what my pick's gonna be, what the list is gonna look like, but I think that it's exciting. This time is exciting for horror, and again, life before Nosferatu, life after Nosferatu. It's different. But one thing I'll tell you is that this also is an eternal slash for me.

SPEAKER_02 38:40

And here I was thinking you just loved it because of all the possession in it.

SPEAKER_04 38:45

Damn it, you caught me. Yeah, caught me. Quite literally possession, by the way. You know what? That's what I'm saying. That's what I'm saying. All right, yeah.

SPEAKER_02 38:54

Listen, we all know it. Nosferatu cast a shadow over horror more than a century ago. This movie had a lot to live up to. And I mentioned earlier that there are a lot of fans who will take Nosferatu and their SpongeBob, but would not dare, much less enjoy a 1920 silent film. When I tell you that Paris texts me and she said, Wow, this one was such a gag, but the original, holy shit, it's dog shit. It was it's really that kind of spectrum for people. This movie had a lot of room to fail, but it also had a lot of room in which it could succeed because it's a great opportunity to bring this story to an audience that wouldn't otherwise give it a chance. And it's also natural for that question to be how good could a remake of an adaptation of an age-old story be? We've been there, we've done that, we've seen it. But the reality is this movie fucking rocks. All right, it's beautifully woven, it's this tapestry of romance dread and also utter absurdity. Listen, I know that this movie is dark, abysmal, and it is dreary. It is certainly depressing, Christmas Carol-y kind of energy. But also, there's a lot of shit in here that I was laughing at, and I cannot wait to watch this again with someone so I can make them laugh while we're watching it. This movie honors the original, but it also adds enough to deepen its sense of identity, and it stands outside of anyone else's shadow to be its own singular adaptation. This movie is a visual feast, but also its fucking cast is second to none. They make the chaos feel more significant. You can feel how high the stakes are. And this movie gave us a Count Orlock and made him pure sinister evil. But he also feels way more threatening and way more dangerous than Dracula. And that is saying a lot for me. This is absolutely a slash. And with that, Nasuratsu from 2024 has under Universal Slash to kick off the new year. Woo! Love it. Now, as we were recording this episode, it is in its theatrical run. But if you're listening to it, post this theatrical run, please check the link in our show notes to see where you can find it. We have a lot more to discuss when we return from our break. If you've already seen this, please drop a comment in our forum discussion. You can find a link to that in our show notes to see how you felt about it as well. But when we return from our break, we'll dive deep into the spoiler zone territory. I'll tell you why I thought about Lin Piscot, and we'll see you in a bit.

SPEAKER_00 41:41

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SPEAKER_01 43:36

We got 30.5 kills in this movie. Probably, if we're really being honest, probably hundreds more from this so called plague. The.5 obviously being the unborn child of Anna Harding.

SPEAKER_02 43:49

Classic fetus action.

SPEAKER_01 43:50

We got a lot of.5 kill counts.

SPEAKER_02 43:53

Baby's gonna die.

SPEAKER_01 43:54

Babies. Yeah, you gotta be prepared for it. But some of these were shown in body. Bags or lying in streets. We're not going to count the ones we didn't really see on screen except for the rest of the crew on the ship because if they're not going to explain it, but they're going to show the crash of the boat and obviously pulling bodies off the boat. We all know the lore. No one made it off the boat except for Orlock and his little rat pack. We're also gonna, of course, pour one out for the homie, the poor pigeon that got its head bitten off like it was fucking Ozzie Osborne in the record label boardroom. All right.

SPEAKER_04 44:32

That was a hundred percent my thought when that happened. That was a hundred percent my thought. Everyone's thought. And I was like, I don't know if Ozzie Osborne can make it to the theater at this point. I'm sure he's got a private screening. I don't know. I need him to see that and be like, wow, me.

SPEAKER_01 44:47

Yeah. He really started it all. You know what I mean? But listen, deaths you don't see, deaths you do see, pigeons getting their heads bitten off, unborn babies not even getting the chance to live all aside. There are still some more kills to sink our fangs into, and I have a feeling of which ones are gonna come up, so I'll let you all bring them up. What were your favorite kills?

SPEAKER_04 45:11

Please, because if tradition tells us, we'll probably have the same one. So let me start with maybe this one. This statement in particular. Fuck them kids is so back. Okay. Oh my god, yes. Fuck them kids is so back because it's not even just the unborn baby, okay? It was the disposal of these Harding girls. There were nothing. Like they were me when I finished my chips and dip, and I just dropped that bag in the trash. All right.

SPEAKER_02 45:41

I need you to know that my notes literally say fuck them kids.

SPEAKER_04 45:44

So do mine. I don't have my notebook right now, but I need you to know that it says that because it was a heavy fuck them kids. And it's so sad because they're like little pieces of shit. They're always screaming and they're being cutie. And then right before, we have a beautiful again painting of them, you know, praying and so like innocent. Like Nasfratsu said, Yeah, I guess I'll get a little snack before I have the main chorus, right?

SPEAKER_01 46:08

So he's a man of his word.

SPEAKER_02 46:10

And it's sad. It's sad because you know what's gonna happen to these kids as soon as you fucking see them.

SPEAKER_03 46:17

Yeah.

SPEAKER_02 46:18

They're talking about please, the monster, don't let him eat me. Sorry, kids, you're gonna get got. We all know how this goes. Okay, listen, they were obviously my favorite death. But let's go into what I was talking about before the spoiler break and talking about Count Orlock.

SPEAKER_01 46:36

Okay.

SPEAKER_02 46:37

Count Orlock dies, not unlike he d the way he dies in the original film. Granted, in the original film, he just kind of dissolves off the screen in the daylight. But there's something so fucking dramatic about the entanglement between the two of them and the almost lust in his eyes. Bill Scarskar really did the damn thing. Good for you, bud. But it just was made so apparent that this timeless immortal vampire, this powerful menace, really just died because he did it all for the fucking Nookie.

SPEAKER_01 47:15

The Nuckie.

SPEAKER_02 47:15

The Nookie.

SPEAKER_04 47:16

2024 really was Limp Biscuits year.

SPEAKER_02 47:19

It really was. It really was.

SPEAKER_01 47:21

It was showing up everywhere. It's just crazy.

SPEAKER_02 47:24

It's absolutely fucking crazy. And then also let's think about the fact that they were fucking till sunrise and that cat watched the whole damn thing.

SPEAKER_04 47:32

Not the cat. Okay, hold on.

SPEAKER_02 47:34

Well, we'll do it all the time. But the cat was just a funny touch.

SPEAKER_04 47:39

Hold on, hold on. They weren't fucking, okay? He was devouring her.

SPEAKER_01 47:44

Not in a way not-felt pretty erotic.

SPEAKER_04 47:48

Okay, yeah, because yeah, it's an Osferatu, duh. But you know, I don't know if there was full-on fucking, okay? Okay, okay. However, I still stand by when you did mention that, that yes, I think both Sean and I knew exactly to some extent what you were implying, which is real great, real solid.

SPEAKER_03 48:05

Yeah.

SPEAKER_04 48:05

That cat is traumatized. So going back to the animal report, I should have also factored that in because you know, yeah. Secondhand trauma. Secondhand trauma for sure.

SPEAKER_02 48:13

I want to cite the official synopsis of the film, which says, and I quote, she allows the Count to feast on her blood and have sex with her until sunrise, which causes Orlock to die and return to an inanimate corpse.

SPEAKER_01 48:28

It was a very good death. I think Count Orlock's death has to be one of the best in the film. Even when you look at the original, to your point, Chris, it's not that they died in different ways. Sunlight, daylight, ultimately killed him, but in the original, Orlock is killed by the sunlight as he kind of like what leans over Ellen's body, fully clothed, lured, the sunlight happens, poof, he's gone. And what do you want from 1922 silent films? You know what I mean?

SPEAKER_02 48:55

Yeah.

SPEAKER_01 48:56

But it also kind of brought life into the whole trope of vampires and sunlight, right? Because in Dracula, Dracula can just kind of walk around in the daylight. And in this kill, in this version, there's this almost desire mixed with hatred and fear and everything that these actors gave to deliver this iconic scene. And I can't shake this feeling of Orlock almost wanting it to end this way. It almost felt like, yes, there's this lust. He tries to stop drinking Ellen's blood, to look at the sunrise, almost enthralled by it, and then just being kind of lured back into drinking until he meets his imminent demise. But Ellen almost felt like she was kind of into it for a second, like she finally gave into this guilty pleasure type thing that she's been almost yearning for, but also scared of. You know what I mean? Sure. And I think that's what makes this kill super special.

SPEAKER_04 49:50

The way I kind of see it is like there is a moment in the film where it's revealed that this is a part of the history, right? The lore of Nosferatu. So it's almost faded to an extent. And I think with Count Orlock, it was a moment of knowing that if this is how he was gonna go, then so be it. He says himself that he can't be satiated without her. And he wants that. He needs it, he craves it. And so at that point when he's getting it, it's like death is eminent and that's okay. He would rather die this way. I feel like when it comes to Ellen, though, it's such a dark and tragic juxtaposition of it because, and we'll unpack her entire character, obviously, in a bit, but with her, it's like she finally has to succumb to this darkness, this part of her that she's been ostracized for, essentially. All she wanted was love and this tenderness. And what came out of it was someone who weaponized that to some extent. And so she ends up having to sacrifice herself in order to save everyone, to be this hero. And when the time comes, it's almost like it's this pleasure of what that looks like mixed in with knowing the consequences of it. Because even at the end, how sad is it when she's like looking at Thomas just for a quick second right before she dies? She makes an effort to at least look at him so that the last thing that she sees is someone who loved her for her, you know, and not for this darkness that lives in her. And that's crazy sad. And then how it's basically the means of it is with daylight, sunlight, what makes us happy, what makes us joyous. That's very fucked. There's a lot of things here.

SPEAKER_02 51:36

But can we also just like back up two two seconds? Let's go from the real pipeline here of I've crossed oceans of times to find you to you are my own personal brand of heroine, to I cannot be satiated without you. What the fuck are we doing here? Vampires? Y'all are doing some shit.

SPEAKER_01 51:54

Listen, when the blood tastes good, lust is a crazy thing.

SPEAKER_04 51:59

People will do crazy things for lust.

SPEAKER_02 52:02

Yeah. I want to see hinge bios for vampires. That's what I want to see.

SPEAKER_03 52:08

Lord.

SPEAKER_04 52:08

Oh boy. That would be interesting and so dramatic and such an eye roll, but it will get people to swipe right. There are gonna be people matching. There are. It's just fact. Yeah.

SPEAKER_02 52:20

Listen, that last scene. I have more to say about it later, but holy shit, the power. It also has some of the most stunning visuals in the entire movie. And there's a lot to pull from here. I think about all the blood. There's so much happening there. But looking back on this entire movie, I think of the original Nasuratu, I think of the shadows. And I love what we get with the shadows in this film. I'm thinking about the shadows on the curtains before we ever really even see Nasferatu. We just see his silhouette, but he's clearly not there. And then we see the shadows creeping up on the walls as she waits for him, as she's summoning him, as she's beckoning him. Oh my gosh. This is one of those things where yes, this movie would have been beautiful. We know that. We get it. Robert Eggers manages to direct films that look absolutely stunning. He has an incredible team that's dedicated to this craft. But if you don't nail the shadows in Oswaratu, you fucked up. And they did it.

SPEAKER_01 53:25

It's so true. They really did. You could honestly probably pick anything from this movie. You know, the set design, lighting, cinematography, sound design, whatever, and find ways to talk about how it may or may not be the best part of the movie. And I think overall, you just have to give it up to the cinematography because they captured some really truly amazing shots. It it truly the cinematography feels like a dark symphony. I think, Chris, the use of lighting and the shadows that you're talking about, I think it it also is keeping true with those muted tones to its German expressionist roots, which I think is something that makes this movie really special. And I think it's something that I really admire in Robert Eggers for really trying to portray in this iteration. And when you're talking about recreating some of these iconic shadow moments, they do so in such a perfect way that there were moments which we'll probably get to in a bit, that I was grinning from ear to ear just watching those moments.

SPEAKER_04 54:28

I think that overall it's obvious that this is visual eye candy and it's inspiration from art that we keep talking about. The several stills from this film that you would definitely hang as a painting in your house in and of itself. It's from Thomas seeing the carriage and it looking like an upside-down cross and all of this tension as the carriage is coming in. The shot of the horses just standing up was insane. The homages to the original, obviously, as the carriage is going to the house, to Nasfrachu's castle, right? And it's just so many things that it's just wow, one thing after the other after the other. It's a masterclass in how to execute a modern gothic horror correctly. It reminds me of the likes of like Crimson Peak a little bit. And I think like that's a good double feature in and of itself, because Crimson Peak obviously is a little bit on the lighter side per se, literally, in terms of lighting. But something about these kinds of horrors just fuels my soul. We know that The Haunting is one of my favorite films. Haunting of Hill House is one of my favorite books of all time. Gothic horror and like literature is so my shit. So when it's executed this way, in a visual aspect where like I feel like I'm there, I'm feeling unsettled. It's so dark, but not like an obnoxious dark where I can't see shit. Okay. It's like a dark that's I can see things and I almost wish that I couldn't. I'm scared.

SPEAKER_01 55:48

It's perfect, the dark. Yeah. Some movies are dark, you can't see shit. And you're like, this is too dark, but this is dark, but you can see what you need to see.

SPEAKER_04 55:57

And with purpose, exactly. It's with purpose. Absolutely. In the night. In the dark in the night. Thank you. Damn, that was good. That was good. No, but really, and I think even the tracking of focus when the whole intro of Nosferatu, you can't even see him clearly. And it's fantastic. Some people would probably be complaining in other films that, okay, what am I even seeing here? Why aren't they revealing him? We are, I know that all, especially all three of us, like we're big fans of Less is More.

SPEAKER_03 56:24

Yeah.

SPEAKER_04 56:24

And this is a perfect example of why. Because you spend so much time truly like focusing to see if you can really make out what Nosferatu looks like that when it's revealed, you're like taken aback. That's also just the power of Bill Skarsgard. He's just so good.

SPEAKER_02 56:39

He's unrecognizable.

SPEAKER_01 56:40

Unrecognizable. 100% unrecognizable.

SPEAKER_04 56:43

Apparently, he spent like a lot of time trying to practice like Mongolian throat singing or something like that.

SPEAKER_01 56:50

I can hear that a little bit, actually.

SPEAKER_04 56:52

Like so much time really trying to deepen and do a whole routine so that he can get to that deep voice. Yeah. He's just so committed to the work. It's crazy. It's crazy good.

SPEAKER_02 57:02

Man, now I'm just thinking about rolling up an Airbnb, Bill Skarsgard there in the middle of the night, but he dresses Count Orlock sounding like that.

SPEAKER_01 57:11

Oh shit. Nah.

SPEAKER_02 57:13

Imagine. No.

SPEAKER_01 57:14

I think he I think I read somewhere that he said that he did not want to do a character as dark as this again.

SPEAKER_04 57:22

Yeah, because of it. Yep. I read that too.

SPEAKER_01 57:24

Which is really crazy to think about because he's done some iconically dark characters, but this I could see it like when you're getting into the way that he talks and things like that, and the like almost growling as he's talking, like he's some kind of almost beast. Do you know what I mean? I think it's just really crazy to kind of get into that headspace.

SPEAKER_02 57:45

I know why. I think it's because of what was actually my favorite scene. I think it's because he had to wear the vampine.

SPEAKER_01 57:53

Dude, the peen. The peen. Which by the way, wasn't prepared for the Dracula dick in this movie.

SPEAKER_04 58:00

Yeah. Neither was I. I was taken aback. The full frontal. Shocking.

SPEAKER_02 58:04

But you know, gifted to Nicholas Holt, yeah.

SPEAKER_04 58:08

Sure was. It was gifted to Nicholas Holt by Eggers. Thought he'd have a good time, a good laugh. Is that right? That's so right.

SPEAKER_02 58:15

There's pictures of it online of Nicholas Holt holding it in a frame, and then the prosthetic is like pinned up within the frame. It is hysterical. Also, reading interviews with Nicholas Holt and then seeing his reaction there, what a fucking funny guy.

SPEAKER_04 58:30

What have I been saying since I started on this show? Okay. My God. He's incredible. Okay.

SPEAKER_02 58:37

Well, I think he said it a little bit less than you may think.

SPEAKER_04 58:40

No, he's incredible. Okay, he's so funny. He's so funny. He's also great in this movie, yes. Okay? He's yes. But he is just really funny and so lighthearted about the whole thing.

SPEAKER_02 58:50

Yeah. Now, to be clear, the prosthetic is not anywhere near something that I enjoyed about this, but it's specifically him uncovering, discovering Orlock. He's been trapped in here. And I think really Thomas's journey through being subjected to everything that he's subjected to with Count Orlock and then fighting his way back to Ellen. Move the fuck over, Jonathan Harker. Get the fuck out of here. Get lost. Because this guy knows what's up. But for him to uncover the sarcophagus, to pop it open, and then to still have the fortitude, because remember, in the original film, he runs away.

SPEAKER_01 59:29

Right.

SPEAKER_02 59:29

He doesn't try to do shit about it.

SPEAKER_01 59:31

But he's like, Hey, but fuck this, I'm out of here.

SPEAKER_02 59:34

He tries to take the iron stake and he tries to do something about it.

SPEAKER_01 59:37

Listen, he's got his best effort.

SPEAKER_02 59:39

Didn't work out in his favor.

SPEAKER_01 59:41

Not at all.

SPEAKER_02 59:42

But he's not a little bitch.

SPEAKER_04 59:43

Which is nice. It's nice to see. Because then it ultimately like just shows the kind of person that he is and his commitment to Ellen in the grand scheme of things. The commitment to not only get back to her, but also to end this, right? To kind of piece together what the fuck's going on pretty fast. Yeah.

SPEAKER_02 1:00:04

But man, when we see that sarcophagus when he's covered in rats, and there's this interview that he did where he, you know, he was sharing, yeah, Bill's in there with all these rats. I just kept doing fucking it up basically to just keep it going so he'd have to do the scene over there over and over and over again and be in there with the rats. I think that's hilarious. But the detail in the set work, when you think about just all everything that had to be orchestrated for this, and it's such a small moment in comparison to the rest of the film. It's one of the more simpler ones, but it is the reveal of oh shit, this guy that you've been seeing is dead.

SPEAKER_04 1:00:41

Yeah, definitely dead. And he's been, you know, basically eating well at that point he had taken a bite of you.

SPEAKER_02 1:00:48

Yeah. So and then think about what this moment looks like in the original film broken up wooden coffin with rat fangs from Nosferatu. And just to see the parallels there, I I loved it so much. It's so simple, but I absolutely loved it.

SPEAKER_01 1:01:03

Yeah, it is crazy. I I think, man, so many great scenes. And and Binks, you were already explaining one of the best scenes for me, which was, and I've got a couple, but like the scene where Thomas and Orlock are together in that fire-lit room at the table, because there's just something about that scene when we're talking to your point about like how it's dark and you can't really see everything, and obviously that's intentional, but man, just the candle lighting, the fireplace, the contrast, the way that Orlock is perfectly out of focus in the dark, and it's like slowly revealing himself with the tiniest bit of light, and it feels like at first you're like, Can't see shit, can't see shit, and then as it goes back, you're like, wait, I could see a little bit, and it the reveal of the eyes and things like that, as Thomas cuts his finger and he smells the blood and all of that. But the feeling that I got from that scene, and how perfectly it felt was the feeling of being like in a dark room for the first time and like slowly being able to start seeing stuff as you like let your eyes kind of settle into that lighting, and it felt like that's what I was experiencing while watching this movie because I really wanted to see Orlock so bad, and it took me so long, and I still didn't get to see as much as I wanted to see, and I think it was just perfect, it was perfectly done.

SPEAKER_02 1:02:29

That's so good, and man, I think even the tone of that scene when you get this parallel scene in this moment in any other Dracula property, and even in the original Nosferatu, their buddy buddiness, it feels erotic. It feels like they're gonna start hooking up. I said this in the original Dracula episode, it felt like this in Dracula 1992 as well. It also felt like this in Nosferatu. I think we made this joke during the watch along, Sean.

SPEAKER_01 1:02:58

We did, it happened.

SPEAKER_02 1:02:59

It is absolutely wild how sensual the undead vampire feels towards the guy there specifically, right? But in this one, Nosferatu just feels like such an evil presence. This is an unnecessary evil, this is a task he's annoyed with, he doesn't really care for in this case Thomas in the original source material, Jonathan Harker, etc. But the hate that you can feel from him. Even though he's being courteous, the hate, or when Thomas is bringing up the gypsies and he's like, We're fucking done talking about this, bro. He is menacing and he is threatening. And then for Nicholas Holt to be able to emote that fear, the shakiness, the nerves, yeah, it just makes me reinforce and stand on business that Jonathan Harker in 1992, Keanu Reeves, didn't have a great performance. Sorry, Vince. Just how to say it. No.

SPEAKER_04 1:03:59

Hey, look. Hey, look. I at this point, Nicholas Holt is as Thomas, in this case, the Harker, right? Probably one of the best. I know we all know that I love Nicholas Holt, but I the reason I was up in arms about it just a second ago is because I know that Lily Rose Depp did an incredible job. We know this. We'll get into it more, I'm sure. Willem Defoe is Willem Defoe, for Christ's sake. Of course he's gonna be fucking phenomenal. Obviously, the man's been in like over 150 movies. Nicholas Holt is someone that was in warm bodies, okay? In skins. Like, you know, Renfield, yes. Child actor Nicholas Holtz. Child, child actor Nicholas Holtz, in lighter things, getting more serious roles for sure.

SPEAKER_01 1:04:42

Yeah, he was in the order this year in some fantastic movie.

SPEAKER_04 1:04:46

Yes. Jura number two of her is really great. He's been like, he's coming up, he's on the come up. I just feel like in this role in particular, he carried just as much. He really came and he showed up and he did the thing. And I feel like Thomas is usually a character that we just throw to the side, or you know, or Jonathan Harker to the side. Don't take two seriously. But he plays such a vital role in this film and in this story, in particular because this story is focused on Ellen's perspective. It's focused on her experience, her connection to Nasferatsu, something that we haven't really seen before.

SPEAKER_01 1:05:23

Which is cool.

SPEAKER_04 1:05:24

Certainly not so much in the OG one because it's silent, and even then it's not necessarily you don't like you don't get that sensation. It's definitely more like Nasferatu in his demeanor and the way that he is.

SPEAKER_02 1:05:35

Yeah, and there is no connection. He just chooses her because he's like, Oh, you got that locket? Mmm, that look neck looks real nice.

SPEAKER_04 1:05:42

That looks real nice. I guess I'm gonna hit it. Literally. Literally, really. And hey, I I haven't gotten the opportunity to see Nasferatu Vampire in full, but the little that I know is that you kind of start to see it a little bit, but even Ellen's character there isn't fully fleshed out. Entirely. It's this one. It's this one where you really get to see the female experience, womanhood, and the desire to be loved.

SPEAKER_03 1:06:09

Yeah.

SPEAKER_04 1:06:09

And wanting to feel connection to some capacity that you just call out. You just want it so bad. And then what you're met with is this darkness. And it ultimately is your demise. You are basically doomed for wanting to be heard, for wanting to be loved. That's why my favorite scene, what had me breathless, that when the scene ended, I started bawling. This is the first time when I saw it. Was that scene where she reveals that she knows Nasferatu. That dynamic between her and Thomas, that whole scene felt like you can't breathe. It is so fucking intense. They both played off of each other so well because so much is going on. We have a moment of vulnerability where Thomas is finally listening to her. The whole fucking film, no one wants to listen to Ellen. She's trying to tell everybody, but no one wants to hear her, no one wants to believe her. Thomas takes the opportunity to finally hear her out. And we see the origin story. And then we see, wait a minute, she's now possessed at this point, obviously, we get it. But she then realizes, like, wait a minute, the person that I'm trusting with this information that was supposed to be someone that chose me basically was ready to dispose of me, was ready to get rid of me instantly, loses it. Then when he's like, okay, I'm gonna go, starts begging. And it was just visceral, visceral experience because I think a lot of people, it doesn't have to be women in general, right? I think we've all maybe experienced, I hope not, a relationship that's so toxic to an extent, or the damage of a toxic relationship, where when you finally get that love, you'd do anything to not let it go. You'd do anything to keep it. So she's crawling and then feeling like she has to prove to Count Orlock and when they end up having sex and that just like really disgust. It's not an intimate moment, okay? It's not a good moment. It's angry, it's uncomfortable. Yeah, he's pissed, you know? And she's interpreting as a way to prove to Count Orlock that she is loved without him. That's fucked up. That's fucked up. It's very dark, a very dark moment that I think like after a couple rewatches, it didn't impact me as much because I've now been able to dissect it. But I think it's very daring and an opportunity for Nicholas Holt to really show up in a way that matched Lily's energy throughout the whole film.

SPEAKER_02 1:08:29

I absolutely fucking love that. Can't describe that scene any better, but also then the tenderness with which they hold each other at the end of that, and she starts fucking losing it. He's like, No, I'm here. It is again the conviction of choosing your person and being there.

SPEAKER_04 1:08:45

Yeah. Especially when she's even in that moment, she's almost feeling like she doesn't deserve it. She feels like, oh, I'm unclean. I'm unclean. And it's so sad because how many people out there have felt like they don't deserve love? They don't deserve that tenderness. And ultimately, it's again that darkness that Nasferatu resembles, that mental illness, that that sadness that you sometimes just succumb to. One of my friends, when we were unpacking it after the first watch, she said it so well. It's almost like sometimes we want to believe and feel like there is a way out of this mental illness, because of course, that's that hope. But unfortunately, the reality is that sometimes there are people out there that they're in too deep and there is no saving, you know? There is no like coming back from that darkness to some extent. And you want to believe and hope that there is a way out. But in this case, it's almost like they painted as she's a a hero, right? Like she's this kind of heroine, she's saving everybody from the plague. This is not what she wanted for herself.

SPEAKER_03 1:09:43

Right.

SPEAKER_04 1:09:44

You know, like she's a victim. It's not like she wanted to be able, like, okay, great. I'm super excited to die. Like, no. And it sucks that it's kind of twisted to that regard. How many times do women have to be the one the saviors in certain aspects? They able they have to sacrifice themselves to some extent to be able to be loved or to be able to be liked or to save someone, hypothetically, right? So that whole scene was something that I would could have never expected to be in an Osferatu film, in any film of recent. So I thought it was something that was really, really special and intense for sure.

SPEAKER_01 1:10:18

Yeah, I feel like there's so many scenes in this movie that have such high intensity and impact that I feel like it really deserves like really watching it and thinking about it and revisiting it because there's a lot to get out of the film. There's a scene where Orlock kills one of the shipmates and takes a fucking bite out of his neck and the lightning flashes so perfectly as the blood is gushing out of his neck, squirting out like just that moment, that's what you're here for in a vampire film, right? Like you want to see that kind of shit.

SPEAKER_02 1:10:56

Here's the thing, Sean. How did we get a better Last Voyage of the Demeter movie than the entire Last Voyage of the Demeter movie?

SPEAKER_01 1:11:04

That's what I'm saying. It's crazy.

SPEAKER_04 1:11:07

It's funny, my friends that I was with, both the first time and the third time, different group, but they both said the same thing. They were like, This is the Voyage of the Demeter right here. It is. This is the stuff.

SPEAKER_01 1:11:17

And they spent such a short amount of time in it, but still somehow find a way, yeah, to make it better in some regards.

SPEAKER_04 1:11:26

You know what's funny though that you mentioned it? I didn't even notice the first watch, that quick moment where you see him by the side of the wood, like that wood panel. Yeah, yeah. I didn't even see him. It was the second time that I was like, oh fuck.

unknown 1:11:37

Yeah.

SPEAKER_04 1:11:37

It's like, oh my god, he's right there. That's the fun little yeah, that's the good whore. That's the good like jump scare. It's balanced so well. And then I think we were talking earlier a little bit about like laughter in like comedy. It was you, Chris, that mentioned like there's some moments here that you want to be able to watch with a friend to laugh. Willem Defoe, when he talks about that Isaac Newton line, when he's like, I've seen things that would make Isaac Newton climb back into his mother's womb. The whole theater, all three times that I saw this movie in theaters, all three times, the entire theater lost it laughing. Love that. The fact that you can laugh as a collective, but also lose your shit crying not too long after. What?

SPEAKER_02 1:12:14

Yeah, and he was a wily old coot in this movie.

SPEAKER_04 1:12:17

Definitely, which we love a little kook, Willem Defoe. Yeah. I mean, I don't know if you guys have seen Poor Things, but he's a kook in that, that's for sure.

SPEAKER_01 1:12:26

So good. He plays this type of character really, really well. I I think it it's definitely like a perfect type of role for him. But I also want to highlight what we've kind of talked about a couple of times, but the scene towards the end where we're getting the shadow of Orlock gliding through the house that you see through the moonlight or whatever in the windowsills and things like that going across the wall. Because we do get that type of scene in the original, and I love that this pays homage to that film, and it was just that was one of the scenes that I was talking about that just had me grinning from ear to ear because I was like, man, I I I love that they did this and it looks so cool. And it was actually in that moment that I felt the strongest connection between the two Orlocks, you know what I mean? Because they're they are so different, right? Like you think of Count Orlock from the 1922 silent film, but I love that Robert Eggers took this Count Orlock and really developed it into what I think the folklore of the time period in the 1800s and things like that would have depicted a vampire, and then also looked at like where this vampire was supposed to be from and where the what those people of that age at that time period would have looked like. That's where this fucking, I guess, well-groomed perfect mustache comes into play, right? Because that's what these you know Romanian dudes are out there with mustaches at this time, but cool. But it wasn't until this scene that I really kind of connected the two because in that moment, in that shadow gliding through the house, is when I feel like the silhouettes kind of looked very similar, right? You don't see the mustache, you don't see like the difference in look and appearance, you just see Orlock and those hands gliding through the house stalking its prey.

SPEAKER_04 1:14:26

Wow. And I think it's done so well because it's not like a cheap Easter egg or homage that we might see in other films, right? We're like, oh, they're doing the thing. Like it it fits so well. I think it's okay that it took that long until you saw that connection because then it feels authentic, right? It doesn't feel like oh a cash grab or like a you know, like fan service to some extent.

SPEAKER_02 1:14:47

So definitely. Just look at the gravity on Count Orlock here. Sean, you remember your first episode of Hackerslash, the first one that you were on? Yes. What was that movie?

SPEAKER_01 1:14:58

What the monsters? Mm-hmm.

SPEAKER_02 1:15:00

Do you remember Count Orlock in that movie?

SPEAKER_01 1:15:03

I remember.

SPEAKER_02 1:15:04

Binks, have you seen The Monsters?

SPEAKER_04 1:15:06

I haven't. Well, yeah, not that one, right? Yeah.

SPEAKER_02 1:15:10

Yeah. Sherry Moon Zombie plays goes on a date. Yeah, she goes on a date. A blind date with Count Orlock. And they're having dinner, and he's like, Do you like rats? Oh, good. It's fucking hilarious.

SPEAKER_01 1:15:28

And so good.

SPEAKER_02 1:15:29

Man, I think now of just the difference here because you have Count Orlock from a silent film. Sure, there have been a couple Nosra 2 adaptations here and there, but then you see that fucking guy, and then you now have Bill Skarsgard.

SPEAKER_03 1:15:44

Yep.

SPEAKER_02 1:15:44

Because Bill Skarsgard almost feels more Rob Zombie coated than the one that we got in The Monsters.

SPEAKER_01 1:15:52

I could see, yeah, I see what you're saying. Yes.

SPEAKER_04 1:15:54

Yeah, it's just I haven't seen it and I believe it because he's very disgusting looking and such. And you know, Rob Zombie doesn't like clean things. It's a cute movie, watch it.

SPEAKER_02 1:16:03

And that's not something I ever thought I would say about a Rob Zombie movie. But Count Orlock, he really did the damn thing. He also has a great interlude on the soundtrack for that movie. And I think there's a song called Disco Vampire or Techno Vampire. And he's actually dancing in the movie. It's fucking hilarious. But back to this Count Orlock. Holy shit. Holy shit, this guy is fucking evil incarnate.

SPEAKER_01 1:16:30

Yeah, it really is.

SPEAKER_04 1:16:32

Evil incarnate. I it's not a shock to me that Bill Skarsgard doesn't want to do this kind of stuff ever again because to say that he went so deep and so dark that they really also made Nock as an example really fucking crazy dark.

SPEAKER_01 1:16:49

Loved it.

SPEAKER_04 1:16:50

Nock Simon McBurney, I think, when Nock is kind of talking about why he is acting this way or what's going on post-pigeon head eating, mind you, his mannerisms, the way that he's talking, he's like almost like a soliloquy. It's Shakespearean, which of course Eggers is all about. He moves in a way that's so unsettling that what was crossing through my mind is to be honest with you, it's like there are people in cells right now, prison cells right now, that are that act this way that would do something like that, that are like unhinged as hell. This is what I think Jared Leto was trying to do with his Joker. Probably what keeps him up at night, you know? Like he wishes he could. Probably this is that energy. This was an incredible knock. So, so yeah, uh, like right under your skin. And it isn't just the pigeon eating and all that, like it was just that monologue in and of itself that was crazy. When he breaks out and he's like lollygagging around, you laugh, but you laugh because you're uncomfortable. You laugh because this guy's nuts. Yeah, but that isn't possible without Nasferatu being so dark and so sinister, right? Like you it has to happen. Both things have to occur.

SPEAKER_02 1:17:57

He's really just like this unhinged Renfield like character. But then you think about the original, he's chased around by the townspeople. He's blamed for the plague. And in this one, yeah, this man is fucking calling into a sarcophagus hoping to look for some fucking immortality, and then gets his fucking iron stake to the chest.

SPEAKER_04 1:18:16

Gets staked.

SPEAKER_02 1:18:17

Incredible.

SPEAKER_04 1:18:18

He says that he in another life, right? He wishes he was a prince of rats or he should have been the prince of rats. This guy is not, well, no. He's not okay.

SPEAKER_01 1:18:28

Yeah, he's a bad boy. But did he have to be naked during the ritual? Okay. Yes.

SPEAKER_02 1:18:34

We got man butt really early in this movie.

SPEAKER_01 1:18:38

And listen, I'm not saying that we can't have naked men in movies. I'm just saying, did the dude need to be naked for the ritual? You know what it is? Apparently. Or was that just his thing?

SPEAKER_02 1:18:49

Balls to the floor?

SPEAKER_01 1:18:50

If the what, if the balls aren't touching the floor, the seance ain't real.

SPEAKER_04 1:18:55

The seance ain't real. That those are Nasferatu's rules. He doesn't make the rules entirely. It's just the way it is.

SPEAKER_01 1:19:02

Gotcha. Overall, yes, Nock was a great version in this movie. Truly fantastic, crazy. Orlock, yes, we're gonna talk. Uh we can keep going about how mesmerizing Bill Skarsgard was about Count Orlock. I think he played a creature that was both grotesque but also tragically human at the same time, right? To be able to play something that dark, but also just to show vulnerability and allow some of that to kind of shine through in some of these shots, especially at the end with how Bill Skarsgard is able to balance between terror and that vulnerability, giving, I think, emotional depth to the character is incredible. But we have to give it up for Lily Rose Depp because I think every moment Lily Rose Depp was on the screen, she commanded the screen. And there was even from just right, even from just waking up from bed, right? But all the way to all the way to just those almost exorcist level scenes of possession, and it was just incredible to watch. Absolutely incredible.

SPEAKER_02 1:20:16

Yeah, there was so much to be there.

SPEAKER_04 1:20:18

I feel like it kind of works when I saw him on screen. I was like, oh, this is clever that Ralph Enison, who was in the first omen as Father Brennan, is receivers here.

SPEAKER_02 1:20:29

I was just about to say, what a hell of a year for Ralph Enison.

SPEAKER_04 1:20:33

Right? Thriving, that man, thriving. And I love it. I love it for him because it's nice that there is like this another possession that he has to tackle and solve. Look at that. Go figure. I, man, Lily Rose Depp, she almost like a phoenix from the ashes. Okay. I don't know if you guys have seen her other stuff. It's not that her filmography is a lot, anyways, right? She was in this show earlier this year called The Idol, famously hated. Okay.

SPEAKER_00 1:20:59

Yeah, yeah, yeah, yeah.

SPEAKER_04 1:21:00

Was not well received, that show. Very terrible, written by the weekend, whatever. Point is. Sounds bad. Because she was a lead actress in that show. I think after that show, people kind of thought, poor thing, not great, not great of an actress as much as we might have thought. But she proved that she can be that leading lady. You just gotta give her the the right work, right? You gotta give her the right script. And when I think of Ellen, I think of Isabella Johnny because she is Ellen in Nasferatsu. And that is crazy shoes to fill. Okay. Isabella Johnny is one of my favorite actresses. Possession, you mentioned it earlier, Chris. Like that's one of my favorite movies. And the premise of possession has a lot to do with what's happening here in Ellen's character and the irony that Isabella Johnny is also Ellen is great. But Lily Rose Depp has outright said that she looks up to her because of the way that she handled those possession scenes and like how she reacted in that movie. And it's almost like, damn, she walked so Lily Rose could run, and she won that prize. She got that gold medal and she made Isabelle proud. She had to have because it was uncomfortable. It was crazy. Her the choreography that had to go into that, the little things, right? Like the spit that comes out of her mouth. Oh god, it was it was so good, so crazy to watch.

SPEAKER_02 1:22:23

She had such an intensely physical performance, but also an intensely emotional performance. Yes. She had such incredible range, and I think that's why the worst part of this movie for me is the potential that was unfulfilled. Listen, I'm okay with Ellen dying in the original because fuck it. Who really cares about Ellen in the original? But you made me love Ellen here. You made me want more for Ellen here. You made me want a happy ending for Ellen, knowing that it realistically probably can't come. But when they had the nerve to add a whole other fucking scene to this movie where all the guys go out to fight while she is luring Nostaratu at home, I thought, wow, okay. They're setting up a big bait and switch here. Are we gonna get a moment where she maybe clings to life at the end, hangs on just a little bit longer, gets a little bit more life, gets some kind of happy ending for herself. Not that it necessarily needed it, not that her ending as a whole isn't fitting for her character, but fuck, Lily Rose Depp just did such a great job in this role, and I just wanted more for Ellen. I wanted to see Ellen come out on top.

SPEAKER_04 1:23:42

I don't know about you, Sean, but was that what you expected that she was gonna say? Because it sure was for me. I knew exactly when I saw it end that way, I was like, I know exactly what Chris is gonna say. And it's not to, I'm not making fun of you, right? Like it's not a bad thing. I think that the reason that I know it and I appreciate it is because it's what I was saying earlier, that hope that you want, right? You you want someone who's suffered to be able to see another day to at least cling on a little bit longer. And because we spent so much time to love this character in a way that we haven't been able to do it before, you want her to be happy. But like my friend had said, right? It's one of those things where sometimes, unfortunately, it's too late, right? And the juxtaposition of this mental health and the symbolism of Nasferatu, but with also the art aspect, right? The visual, the visuals that Eggers is basically trying to evoke, the lovers of Valadero, it's almost like a love scene at that end, right? And Death and the Maiden, they're basically like embracing, looking at each other, like almost enamored with one another. You gotta have that. And unfortunately, what that means is that she doesn't get to continue. And it sucks because she's seen as this hero. She sacrificed herself to stop the plague. But I mean, it's not fair. It's not fair. She doesn't deserve that all because what? She wanted to be loved. So this is an opportunity where although I knew that you were gonna say that, I almost felt the same way. You know what I mean? Like I felt like, damn, this sucks because I get it. It's poetic, it's tragic, it is a gothic tale. But damn.

SPEAKER_01 1:25:14

But the movie, yeah, but I get it too, because the movie kind of went in this heavier direction with the character, so you were almost kind of led to believe that they might actually change something at the end. Don't know if it would have been better or not. That we will never know, but I do think that the ending was still fantastic, which we all have agreed on. Sure.

SPEAKER_02 1:25:38

Yeah. It is specifically her walking him up to the door and saying, It's gotta be me. I'm like, all right, girl, it's gotta be you.

SPEAKER_04 1:25:46

It's gotta be you. It's gotta be you, I suppose.

SPEAKER_03 1:25:50

Yeah, yeah.

SPEAKER_04 1:25:51

You know, worst part for me, it's kind of tough to say because I don't really think that there is one entirely. We actually didn't get to talk too much about Frederick Harding and one of the finest looking men on earth, which is Aaron Taylor Johnson. Uh, that's just a fact. That's a fact, right? I think the public can agree.

SPEAKER_02 1:26:08

Okay. But just to briefly talk about him, great move making it a family instead of just a brother and a sister. Yeah, giving us some more depth, giving us something to be sad about with him.

unknown 1:26:20

Yeah.

SPEAKER_04 1:26:20

And the parallels, right? The parallels of the love and the relationship and what could have been for Ellen and Thomas. And even between the two of them, too, that's like lust in a different way. That's lust and like passion in a very different, maybe healthy to some extent, right? Because I don't know if there was any like toxicity in that relationship. It didn't seem that way to me. So healthy in comparison to what she was experiencing even with Thomas and with Nasfratz, right? Like Thomas was basically the only happiness and joy that she had, and almost like this codependency to an extent. But yeah, I thought he was fantastic. But speaking of him, there was a short, super small moment, maybe like two lines, where Dr. Seivers is talking about Franz and how this is someone that they should probably look into. But it's weird. It was like ADR, it was like a little bit of a voiceover that just seemed so fake to me. Uh, I think that Frederick says like two lines. Aaron Tovson says two lines, and it sounds like it was just plugged in. It doesn't sound like he's actually in the room that you know what I mean? Like it doesn't sound like he's actually there. Yeah. And because the camera's not on him, it's safe to assume that that was probably plugged in afterwards, right? That ADR. It sounded super fake. It was awkward. It's so short, it's such a nitpicky thing, but I saw it three times, and I really thought I was crazy, maybe gaslighting myself. And at the third time, I was like, no, no, no, this is still pretty strange.

SPEAKER_01 1:27:45

Wild. It's still pretty odd. Interesting. Yeah, it it is a tough one to pick a worse part of the movie. I think for me, honestly, as historically accurate as it is, I think it's the mustache. I don't think we needed the mustache, and if we did, it shouldn't. Been well groomed because this motherfucker was not a well-groomed man or beast or whatever. And that, my friends, that mustache was giving more Boris than Orlock.

SPEAKER_02 1:28:13

Damn.

SPEAKER_01 1:28:14

T. That's T.

SPEAKER_02 1:28:15

All the Boris, none of the Orlock or the Karloff. Listen, that mustache, not gonna keep me from watching it again. Can't fucking wait. Was it weird? Sure.

SPEAKER_01 1:28:26

I know.

SPEAKER_02 1:28:27

Can't wait to watch it again, though.

SPEAKER_01 1:28:28

There's so much to watch. I mean, like, Binks, you've seen it three times. You're probably gonna see it four, five, six. We're all probably gonna see it a bunch of times. I think there's so much rewatch value. You can't get it all in one sitting, right? And I think this is a movie that if you can catch it in theaters, you want to catch it in theaters because I think it's gonna be really special in theaters. But even if you're watching it streaming or whatever, I think there's just so much to look out for here. It pays homage, it has callbacks, it is beautiful, it's stunning. There's so much to look at with the set design, everything's intentional to the time period. So if you've only watched it once, you definitely missed something. It's definitely got a lot of rewatch value.

SPEAKER_04 1:29:12

Absolutely. Sean, you're so right. I will a thousand percent be seeing this again three times, friends, in two weeks' span to see the movie twice in one day. Okay, shout out to AMC Stubbs. You should also sponsor us, AMC, because it was free. But I just cannot explain how like fruitful the viewing experiences in theaters. But regardless, even if you're at home, I recommend setting the tone for this film. You know, if you have to see it in daylight because you're a little spooked, that's okay. But the ambiance in your environment is gonna just really heighten the film itself. If you have the financial means and you're able to see it during its theatrical release, I would also say definitely see it in IMAX if you can, because the IMAX experience is also something else entirely. It's crisp, it's just like really the sound, everything is so intense, but in the best way. So you really feel what you're supposed to be feeling. So I would recommend that as well if you can. If not, at home's okay too. But I will definitely be seeing it probably a fourth time sometime this week, actually. So I'm a little crazy.

SPEAKER_02 1:30:19

I want to go see it on the primer or an IMAX experience while it's still within AMC because I watched it in a regular screen. I'm like, okay, I forgot that watching it on a regular screen in the not so comfy chairs doesn't hit as much. But I can't wait to see how I feel about this on another watch. And for now, there you have it, folks. Nasferatsu from 2024 has earned a resounding, strong, universal slosh. Now we've certainly had a robust discussion here, but the conversation about this movie doesn't end here by any means.

SPEAKER_01 1:30:53

It certainly does not, and we have a lot of fun recording these episodes, and with that we get into a lot of really good, fun, off-the-wall conversations. So if you want to find out how you can go further than just this episode, consider supporting the show by visiting patreon.com slash hackerslash so you can find out how you can enjoy even more of the show, including bonus content with early access, extended episodes with our B-sides, movie nominations, and live shows.

SPEAKER_04 1:31:24

And if you felt entranced by Nas for A2 and our conversation on packing it, leave us a five star review wherever you get your podcasts. This helps us continue to deliver great content for all you horror fiends out there.

SPEAKER_02 1:31:35

We'll see you next time, folks, and remember it's all for us.

SPEAKER_01 1:31:38

Then the covenant is fulfilled.