Drácula: O Despertar do Mal

Um filme de cinema da DreamWorks / Universal em um nível qualitativo abaixo da média do Netflix. Um começo promissor com uma bela produção, interiores do navio bem elaborados e bem iluminados no escuro. A primeira aparição impressionante do Drácula e os assassinatos atmosféricos das primeiras vítimas. No entanto, na segunda metade do filme, o enredo começa a desmoronar, a tensão crescente é substituída por cenas dramáticas mal editadas, o belo CGI é substituído por incêndios baratos ao nascer do sol e os personagens perdem os contornos significativos originalmente construídos devido a um argumento desesperadamente em queda. O epílogo confiante no estilo de Van Helsing se torna apenas risível. (17/09/2023)

This had such a promising potential and in the end brought nothing. In order for this film to succeed, it had all the prerequisites - a great plot, a hopeless setting, talented actors, and decent craftsmanship. The only thing that epically fails is the much-needed skill to establish a horror atmosphere and be able to shoot scenes in a way that is scary or at least interesting. This is how it felt to me again, like a horror movie for children, where the script is intentionally restrained, offers an absolutely non-scary CGI monster, and actually makes you feel more like you're in a computer game. That vampire was a really bad joke. (11/10/2023)

André Øvredal and his gothic boat vampire horror based on Stoker's novel. I have to say that I like Øvredal, he is an active horror filmmaker and chooses interesting and unconventional horror genre films, though not always as good as The Autopsy of Jane Doe (he probably won't top that one), but he never outright pisses me off and doesn't try for any arthouse or ambitious works. In short, rewarding horror entertainment, of which there is never enough. A lot was expected from The Last Voyage of the Demeter, and early overseas reviews suggested it probably wouldn't be the horror film of the year, which I can confirm, but it's still very attractive and likeable, and as a true horror fan, I feel the need to express my gratitude that we didn't get another bland ghost movie, another bland slasher or another family friendly twillight vampire flick, but a shipboard vampire gothic horror, I welcome that. I’m pleased with the above-par craftsmanship, the likeable characters, the good music, the decent looking Dracula (again it could have been some ugly CGI shit, but there's a Javier Botet creature feature again!). The atmosphere works: the ship, fog, storm, sailors and a dangerous Cargo is simply rewarding. It's nice to that it’s not PG-13, and it's pretty gritty in places, I found it relatively satisfying. I appreciated that the film isn't afraid to break down conventional horror boundaries, like the breaking the rule that women and children are safe, which I applaud. Sure, the scares don't work, but who cares. It's a fun clash between Dracula and the sailors on a ship. Take it or leave it. 7/10. (30/08/2023)

An unexpectedly honest, dark atmosphere, a monster with dignity worthy of Nosferatu. I’ll even forgive the occasional CGI blunder, which I would have rather expected in the realm of Van Helsing. Nice casting of all characters, and Øvredal gives his protagonists sufficient spaces so that viewers can root for them with the chilling certainty that they will see them die an ugly death one by one. Personally, I would ease up on the money shots with the vampires, add more practical effects and take the approach of stifling nautical conversational flicks in the style of The Terror and The North Water. In the end, however, I consider this nicely balanced mix of modern horror, gothic morbidity and tribute to Universal in the 1950s to be very successful, even though the effort to establish a new lore at the end is a bit humorous. But hand on heart (pierced by a stake), who doesn’t want to see that morbid hunched figure in disguise, wearing a hat and carrying a cane? (26/08/2024)

Aboard the ship Nostromo—sorry, Demeter—there's an alien. Its insides throb with terrifying noises, no one can hear your screams on the open sea, and the crew members wear numbers on their backs to indicate the order in which they will meet the god who has forsaken them. The key difference is that while the cat Jones survived back then, here the pets are the first to go. Except for Liam Cunningham, I didn't believe any of the characters were from that era; at least ten extra minutes are taken up by aimless conversations that dilute the atmosphere, and the winged Transylvanian orc drowns too much in digital muck. The expectations for a sea voyage from Varna to Whitby turned into disappointment. The final hints with the Congo doctor Abraham are best left unexplored. Let's see what Eggers brings to the field of Nosferatu. (06/09/2023)