Nosferatu (2024)

Gothic hardly covers it. Every frame of this film teems with expressions of the gothic ethos, making it an especially rich and evocative viewing experience, especially if you are familiar with the source materials. It is actually refreshing to see the vampire genre not treated as a mere fashion show for the pretty and perfect but as a story much closer to the folkloric roots of the thing (literally): as a true horror of pestilence, existential fear and death. Romance is underplayed in the face of primal forces—because, after all, we’re talking about a walking corpse here. The cast does a fine job of conveying all of the above with sincerity, and the script stays true to the roots of the tale, yet adds a few interesting twists and at least mildly provocative details. Finally, this film makes the point that horror, though certainly bound to blood and gore at its core, is not necessarily limited to over the top violence, slasher action or shock moments, but that atmosphere can deliver the basics of the genre, when it is done right. I wouldn’t guess what Stoker would have to say about this, but I suspect Murnau would be most pleased to see such a stylish and sophisticated expansion on his earlier masterwork. Great stuff. 

John Wick: Chapter 4

Undoubtedly, this is the funniest movie in the series—which is saying something considering its denouement. But really, everything here is so over the top that you can’t help but laugh. It becomes clear here, if it wasn’t already, that these films are really live-action cartoons with a healthy dose of first-person shooter video game thrown in. One might be tempted to be dismissive of such a project, but there has always been something akin to art hiding within this mayhem, and that too comes out clearly in this outing. Director Chad Stahelski puts on an extraordinary display with several of the sequences in this flick, long stretches of screen time where well-choreographed action is shown within visual contexts that are skillfully composed, including one case—an extended overhead shot of an in-building gun battle—that displays a dazzling degree of vision and control. But it’s not all flash and visuals; this movie also has something on its mind. It’s actually a theme that has run through a lot of this series, but the concept really comes to the fore here, where so much of the action takes place in scenes of opulence: these assassins exist in the realm of the ultra rich—a caste that, according to these films (and the evidence of reality) is comprised wholly of true monsters. Oh, yeah, and on top of all that, Keanu is still Keanu; his title role remains an indelible character, vulnerable and indestructible at the same time. All in all, it’s a satisfying way to end one hell of a ride, one of the most unexpected and surprisingly enjoyable journeys in cinematic history.