For many horror fans, Robert Eggers’ Nosferatu is the most anticipated movie of 2024, perhaps even of the decade so far. It has had a troubled history with many fits and starts along the way before finally reaching screens after nearly a decade in the making (Bloody Disgusting first reported on an Eggers helmed Nosferatu in July of 2015) this Christmas Day. There is much at stake and there are big shoes to fill for this movie but if the pre-release buzz is any indication, the film may well exceed its monumental expectations.

The history of Nosferatu reaches back over one hundred years and is one of the greatest and most consistent of all horror legacies. Ostensibly retellings of Dracula, the major Nosferatu films become something unique from the world’s most famous vampire with far more sinister underpinnings than the majority of “official” Dracula stories. Nosferatu in all its forms leans into the ideas of plague, despair, and the occult with imagery that is among the most unsettling in all of horror history.

Nosferatu: A Symphony of Horror (1922)

Though the original film has long been most attributed to director F.W. Murnau, the true driving force behind Nosferatu: Eine Symphonie des Gauens was its producer/art director Albin Grau. The great historian of German Expressionist film Lotte H. Eisner described Grau as an “ardent spiritualist,” but today we may well call him an occultist. He immediately saw the cinematic potential of Bram Stoker’s Dracula but did not have, nor could he or his small production company Prana-Film afford, the rights to the novel. So he, along with scenarist Henrik Galeen, crafted a script that they thought would escape unnoticed from the watchful eye of Stoker’s widow Florance. They changed the names and locations from the novel while maintaining its basic structure. Jonathan Harker became Hutter, Mina became Ellen, Van Helsing became Professor Bulwer, Renfield became Knock, and Dracula became Count Orlok. The primary action was translated from England to the town of Wisborg, Germany. In fact, the entirety of the complicated novel is simplified to three major settings: Orlok’s Transylvanian castle, the ship sailing to Wisborg, and the tiny German town itself.

What gives Nosferatu its singular character is its many deviations from the source material. The look of Count Orlok is wholly unique and may well have been designed by Grau, as implied by his pre-production drawings. He chose to build up actor Max Schreck’s (yes, that was his real name) features with putty, gave him a bald pate, and large pointed teeth located centrally in his mouth, giving the vampire a unique rat-like appearance that underscored the film’s themes of plague. As with Egger’s remake, Murnau’s Nosferatu was only four years removed from the height of a global pandemic that claimed millions worldwide. Fairly or unfairly, the rat has served as the symbol of pestilence for centuries thanks to their role in the spread of the bubonic plague throughout medieval Europe. In hindsight, the plague of rats can also be interpreted as indicting the political and social climate of Germany under the Weimar Republic, which governed the nation from the end of World War I to 1933, as being fertile soil for pestilential ideas to take hold. This of course came to fruition in the rise of Adolph Hitler and the Nazi party a mere eleven years after the release of Nosferatu.

Today, the film is rightly regarded as a masterpiece and F.W. Murnau, in large part because of Nosferatu, was declared by Lotte Eisner to be “the greatest film-director the Germans have ever known.” Murnau’s direction along with the brilliant cinematography of Fritz Arno Wagner infused Nosferatu with some of the most unforgettable imagery in all of film history. The emergence of Orlok from his coffin aboard the ship, his shadow climbing the staircase to Ellen’s (Greta Schröder) room before extending through the chamber door, Orlok clinging at the window frames of his derelict home. It is no wonder that the film has captured the imagination of filmgoers and filmmakers for over a century, and it is something of a miracle that it even still exists. After Florence Stoker learned about the film, she immediately sued Grau and Prana-Film. The judge in the case ordered all prints of the film destroyed but underground groups of cinephiles protected copies which were eventually smuggled out of the country, spreading to London and eventually throughout the world.

Nosferatu: Phantom Der Nacht (1979)

In the late 1970s, Werner Herzog made two films back-to-back that were attempts to connect with the best of his German heritage. The first of these was Nosferatu (the second, Woyzeck, would begin filming only five days after Nosferatu wrapped) which he described as his connection with his cinematic grandfathers. He has often described his generation of German filmmakers, which most notably includes Rainer Werner Fassbinder, Wim Wenders, and himself, as a generation without fathers because they had either bought into the Nazi culture or fled the country because of it. “As the first real post-war generation, we were orphans with no fathers to learn from”; Herzog told author Paul Cronin for the book Werner Herzog: A Guide for the Perplexed, “we had no active teachers or mentors, people in whose footsteps to follow. This meant it was the grandfathers—Lang, Murnau, Pabst and others—who became our points of reference.” Herzog was drawn to Nosferatu for several reasons, not least among them is his feeling that Murnau’s film was “the very best German film ever,” and sought connection with his forebearers by creating his own version of it, which he has never thought of as a remake. “It goes its own way with its own spirit and stands on its own feet as a new version,” he later said.

And the film is genuinely unique from its predecessor while still embodying some of its greatest aspects. By the time Herzog set out to make his version of Nosferatu, Dracula had long since fallen into the public domain. He dispensed with the trappings from the original film that were meant to veil, however thinly, Nosferatu’s origins in Bram Stoker’s novel and chose to call his Count Dracula rather than Orlok, Hutter once again became Jonathan Harker (Bruno Ganz), now married to Lucy (Isabella Adjani), and Roland Topor played Renfield (and one of the most bizarre and hilarious Renfields at that) rather than Knock. Locations, however, maintained similarity to Murnau’s film as did the look of the vampire, the emphasis on plague symbolized by droves of rats, and the centrality of Lucy as the one who holds the power to destroy the evil that has invaded her hometown.

The touches that make the film a true “Herzogian” film rather than a mere rehashing of the original are multitude but the most notable have to do with the vampire, the leading lady, and the way the locations are captured on film. The film marked Herzog’s second of five collaborations with the legendarily volatile and unpredictable Klaus Kinski, and Herzog has described it as their most pleasant working experience. “For almost the entire shoot he was happy and at ease with himself and the world, though he would throw a tantrum maybe every other day.” This was a marked improvement over their relationship on Aguirre: The Wrath of God (1972) which turned out to be a mere foreshadowing of the hurricane that was in store for him on Fitzcarraldo (1982). For Nosferatu, Herzog and Kinski sought to “humanize” the vampire, giving him “a real existential anguish” that Schreck’s soulless, rodent-like bloodsucker lacked. “I wanted to endow him with human suffering, with a true longing for love and, importantly, the one essential capacity of human beings: mortality,” Herzog said, “He is deeply pained by his solitude and inability to join with the rest of humanity.”

Adjani’s Lucy is also given more to do than Schröder’s Ellen and has a great deal of agency in the film. One of the film’s most striking scenes finds her in the middle of the town square as dozens of coffins move past her on the shoulders of men carrying them out of the town. Nearby, dazed men and women dance around bonfires stoked by the furniture from homes that no longer need any of these mere possessions as the occupants are all dead and rats invade the streets. It is a startling image that evokes sequences from Herzog films that came before like Even Dwarfs Started Small (1970) and many more to come. Another striking sequence happens early in the film as Harker travels to Castle Dracula on foot through places that strike the viewer as places that no one else has ever seen. This is one of Herzog’s greatest gifts as a filmmaker—to go places that no one else would go to show us sights that have never been seen and to place his camera so that these sights seem to be otherworldly. The film is a piece of poetic beauty infused with a constant and unrelenting sense of dread.

Shadow of the Vampire (2001)

As much as I love all the “official” versions of Nosferatu, and though this stands just outside that realm, Shadow of the Vampire is my personal favorite of all of them to date (though I should note that as of this writing I have not seen Eggers’ interpretation). The premise of the film is rather simple—what if the mysterious Max Schreck was actually a vampire—but offers great insight into the filmmaking process, the “war of art,” and even the nature of reality itself all packed into a brisk ninety-five minutes. It is all very “meta” but not in a pretentious way by any means. In fact, the film captures much of the eeriness of Murnau’s film, while also being a compelling drama and a very, very funny movie. Produced by noted vampire enthusiast Nicolas Cage and directed by E. Elias Merhige, who caught the eye of the producer with his dark, surreal film Begotten (1989), Shadow is a perfect marriage of filmmakers and material. Like Albin Grau, Merhige is fascinated by the occult and had a close relationship with Werner Herzog at the time he made the film. (I have often wondered what this film would have been like with Herzog in the role of Murnau as it would have taken on a further layer of metanarrative quality, but then we would have missed out on one of John Malkovich’s great performances.)

Shadow of the Vampire features one of the most brilliant casts ever assembled for a film of this type including John Malkovich as Murnau, Udo Kier as Grau, Cary Elwes as Wagner, Catherine McCormack as Greta Schröder, and Suzy Izzard (credited as her stage name Eddie Izzard) as Gustav von Wangenhein who played Hutter in Nosferatu. All give excellent performances but Willem Dafoe as Max Schreck is nothing short of astounding and received a much-deserved Oscar nomination for the role. The core of the film comes down to the lengths that an artist will go to in order to see their vision to fruition, no matter the costs to themselves or anyone else. The filmmakers are depicted as mad scientists wearing lab coats and goggles, a necessity in the era due to the residue created by the lights of the time, but the image is striking. Murnau is regularly referred to as “Herr Doktor” and this Dr. Frankenstein of sorts repeatedly declares filmmaking to be an act of war. “Our battle, our struggle is to create art. Our weapon is the moving picture,” he says as the company boards a train for their first location, and throughout the film the camera is compared to a machine gun. In the end, this fictional version of Murnau’s vision becomes so all-consuming that the real world becomes the artifice and what is within the frame, the only thing that is real. Shadow of the Vampire is an unparalleled interrogation of the madness of creativity.

It is also the most difficult of any of these films to see. Despite its all-star cast, being produced by a Hollywood icon, and ownership by Lionsgate and Universal, it has not been available to stream for some time and is trapped on an out-of-print DVD. The online rip (that as of this writing is up on YouTube) is not of great quality as it is standard definition and highly pixilated. In light of the buzz around Nosferatu at the moment, no film is more deserving of a High-Definition streaming and physical release. I will use every bit of my bully pulpit (as small as it may be) to bang the drum for a Blu-ray/4K release of this brilliant film. I have a feeling it would serve some boutique label, or perhaps even the major studio that owns the rights and uses clips of it for attractions at their theme parks, very well.

Shadows and Influence

‘Salem’s Lot’ (1979)

Several other films have taken the name of Nosferatu and used it for various purposes. Klaus Kinski took it upon himself to return to his vampiric character, with very different results from Herzog’s film, in 1988’s Nosferatu in Venice, directed by Augusto Caminito. Mimesis: Nosferatu (2018) sees a high school teacher, Professor Kinski (Joseph Scott Anthony), mounting a stage production of Dracula heavily influenced by Murnau’s film and starring a vampire obsessed student named Michael Morbius (Connor Alexander) in the lead role. The film contains a number of vampire-related easter eggs including several names inspired by Fright Night, Salem’s Lot, and even Twilight. It also features several brief appearances by Lance Henriksen as an enigmatic mentor creating a cult of vampires in the mold of Max Shreck’s Count Orlok. Also released this year, after a long gestation period, was Nosferatu: A Symphony of Horror starring Doug Jones in the role of the vampire. The film, funded by a Kickstarter campaign, is more-or-less a shot for shot remake of the Murnau film with its modern actors inserted into computer generated recreations of the locations and sets used in the original.

Perhaps even more prevalent have been the many films that either pay homage or reflect the influence of Nosferatu to create various effects—from the frightening to the comic. In 1979, the same year as Herzog’s film, Tobe Hooper’s television movie of Stephen King’s Salem’s Lot featured Reggie Nalder as Kurt Barlow, a creature clearly modeled off Max Schreck’s Orlok, that has very little resemblance to the character as described in King’s book. Other homages include Ben Fransham as Petyr in the 2014 film and Doug Jones as Baron Afanas (at least in the early seasons) in the television version of What We Do in the Shadows (2019-present). Just last year Javier Botet played the grey, bald, and bat-eared vampire to great effect in The Last Voyage of the Demeter for which the character is credited as Dracula/Nosferatu. The reach of Nosferatu can be found throughout film history in characters as diverse as the animalistic forms of the vampires in Fright Night (1985) and The Lost Boys (1987) to various incarnations of Gary Oldman’s Count in Bram Stoker’s Dracula (1992) to Danny Huston’s Marlow in 30 Days of Night (2007) and beyond.

It seems likely that Eggers’ new version of the film will stand shoulder to shoulder with the long and towering legacy of Nosferatu. It seems to me that horror fans are hungry for a retelling of the classic version of the vampire myth that is genuinely unsettling even, dare I say, scary. With the innumerable variations of vampires over the years there is something refreshing about returning to the basics of why these creatures invade our dreams and our fears in the first place. There is a primal quality to Nosferatu that is found only in that version of Dracula, one that lacks romance or remorse and simply preys upon our deepest, darkest, and most potent fears.

The post Chasing Shadows: The 100 Year History and Legacy of ‘Nosferatu’ appeared first on Bloody Disgusting!.

Cineverse and Bloody Disgusting are hosting A Very Special Terrifier Christmas this week, not only with Art the Clown’s official “Eulogy Log” now streaming exclusively on SCREAMBOX but also with the nationwide theatrical re-release of Damien Leone’s Terrifier 3!

The highest grossing Unrated movie in box office history is back on the big screen in theaters across the United States for a limited run starting Christmas Eve (tonight!) and Christmas Day!

This special engagement includes a new introduction by filmmaker Damien Leone and an exclusive Sneak Peek at ART ATTACK—a behind-the-scenes feature documentary that’s set to release on SCREAMBOX next year, offering fans an insider’s look into the making of Terrifier 3.

Tickets are available now at tickets.terrifier3.com.

In Terrifier 3, “After surviving Art the Clown’s Halloween massacre, Sienna and her brother are struggling to rebuild their shattered lives. As the holiday season approaches, they try to embrace the Christmas spirit and leave the horrors of the past behind. But just when they think they’re safe, Art returns, determined to turn their holiday cheer into a new nightmare.”

Produced by Phil Falcone and written and directed by Damien Leone, Terrifier 3 stars David Howard Thornton, Lauren Lavera, Elliott Fullam, Samantha Scaffidi, Antonella Rose, Margaret Anne Florence, Bryce Johnson, Alexa Blair, Mason Mecartea, Krsy Fox, Clint Howard, Jon Abrahams with Chris Jericho, Daniel Roebuck, and Jason Patric.

You can rent or purchase Terrifier 3 on Digital outlets including Amazon RIGHT NOW. Bring Art the Clown’s Christmas bloodbath home for a $9.99 rental or a $19.99 purchase.

And grab Terrifier 3 on DVD, Blu-ray and 4K Ultra HD now!

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One of the most fun aspects of horror is the endless creativity when it comes to on-screen carnage, and 2024 has delivered no shortage of memorable horror movie kills.

It’s been a fantastic showcase for special makeup effects artists when it comes to on-screen slaughter; 2024 provided multiple extended kills that cumulatively threatened to wipe out a warehouse supply of fake blood. And that’s why we’re looking back and paying tribute to some of the nastiest, goriest, and most unforgettable 2024 horror movie kills.

We’re saluting the ten best kills in 2024 horror movies, which means massive spoilers ahead for the following: Longlegs, MaXXXine, Sting, Alien: Romulus, The Coffee Table, Abigail, Smile 2, The Substance, Terrifier 3, and In a Violent Nature.

You’ve been warned…

Longlegs – Facial Reconstruction

Filmmaker Oz Perkins refreshingly keeps his curious serial killer, Longlegs, as enigmatic and elusive as possible, giving only glimpses into the killer’s machinations and treating him more as a peculiar boogeyman. It makes the short bursts of Nicolas Cage’s eerie freakouts all the more impactful and unnerving, developing palpable anticipation by the time the serial killer finally meets FBI agent Lee Harker (Maika Monroe) face to face. That’s when Perkins pulls the rug out from both Harker and the audience with the abrupt, visceral self-demise of the film’s seeming Big Bad. Longlegs bashes his face against the desk, splattering Harker with his viscera. It’s not just the nonchalance of the self-harm that shocks, but the realization that Longlegs was never the true villain of this story but a mere pawn of the devil.

MaXXXine – John Labat’s Car Troubles

Kevin Bacon’s John Labat seems like the type of sleazy private eye that revels in trouble from the moment he pops up in Ti West’s trilogy ender. At the very least, Labat makes it clear that his morals are skewed, and he doesn’t take no for an answer. He’s more than happy to employ intimidation tactics. It’s too bad he doesn’t realize until far too late that Maxine Minx (Mia Goth) isn’t your average aspiring starlet at all. When Labat pushes Maxine too far, she enlists her adult film industry agent for a quick resolution in the form of a beat down, followed by a brutal evisceration of his body and the evidence with a live junkyard car compression.

Sting – Maria’s Ruthless Spider Attack

In a year with two spider horror movies, Sting doles out the most savage death. The venomous alien spider, still in a relatively small form, escapes his makeshift cage and into the apartment building to dispatch the residents one by one. The worst punishment is saved for Maria (Silvia Colloca), a depressed woman mournfully looking at a family photo; Sting launches at her face, biting down on a cheek and causing a nasty fall in the process. The alien venom acts fast; Maria gets violently sick, which in turn causes her head to crash into the bathtub’s ledge with a sickening crunch. This kill would still qualify if it ended here, but then Sting decides to crawl into her mouth and cut open her belly from the inside. It’s an elaborate death for a character we’ve barely met, one who’s clearly going through a rough patch. It makes for one of the cruelest kills of the year.

Alien: Romulus – Mother and Offspring

In a film where characters are brutally dispatched via acid, tail impalement, or even the tried-and-true chest burst, it’s poor Kay (Isabela Merced) who suffers worst of all. After being rescued from a vicious xenomorph attack, a badly injured Kay opts to take the experimental Prometheus serum, hoping to save herself and her unborn baby. Instead, the serum alters her DNA and causes her to birth the Offspring. The eerie humanoid creature winds up feeding on his own mother, finally putting an end to her horror and suffering. That Kay is portrayed as one of the most innocent among the group only makes this extended kill all the more heartbreaking. 

The Coffee Table – The Freak Accident

The inciting event of The Coffee Table gets this pitch-black horror-comedy off to a shocking start, and the suspense only ramps up from there. Despite promises for an unbreakable glass coffee table, that’s exactly what happens within the first act, sending a father spiraling after accidentally decapitating his newborn baby while his wife is out. Director Caye Casas toes the perfect balance when it comes to framing this taboo-shattering death; it’s not explicit, yet still harrowing and intense. Quick images combined with effective sound design leave the viewer just as shaken as Dad.

Abigail – A Villain Explodes

Never trust a double-crosser. Frank (Dan Stevens) is the precise type of crook you can’t trust, and the former cop turned criminal evolves from self-appointed group leader to the de facto villain when granted vampiric power. Frank turns on the remaining survivors, eager to slurp up every bit of their lifeblood, setting up one ultra-satisfying showdown. His demise brings catharsis, relief, and triumph for Abigail (Alisha Weir) and Joey (Melissa Barrera) by unleashing an insane torrent of blood; Frank bursts like a giant vampire water balloon, leaving no surface uncovered in blood. Vampire deaths tend to be messy, more often than not, but Abigail stakes a claim for the messiest thanks to the copious amount of blood employed for this death.

Smile 2 – Lewis Lifts Weights

Drug dealer Lewis Fregoli (Lukas Gage) found himself an unwitting recipient of the curse simply for being at the wrong place at the very worst possible time. When it was his turn to pass the curse, director Parker Finn ensured his brutal death would up the ante from the first film. A fully possessed Lewis freaks out on a confused Skye Riley (Naomi Scott), seizes, then violently smashes his face in with a barbell plate. Finn focuses on the carnage, with the sound design working just as hard as the visuals to sell the nausea-inducing bodily harm. While Lewis’s death is far from the only nasty kill feature in this sequel, the brutality sets the tone straight away that Finn’s sequel will be bigger, nastier, and much more ruthless.

The Substance – Monstro Elisasue’s Final Bow

It’s not just the sheer level of prosthetics and makeup effects required that earns The Substance a spot on this list; it’s the drawn-out sequence dedicated to the protracted, gory, and tragically funny demise of Elisabeth Sparkle (Demi Moore) and Sue (Margaret Qualley). Or, more accurately, the prolonged dissolution of Monstro Elisasue. After murdering Elisabeth out of rage, Sue attempts to reuse the leftover activator to stave off her rapid deterioration, creating the fleshy, deformed Monstro Elisasue. It sets the stage for the final bow, literally, with the monstrous entity transforming a live New Year’s Eve broadcast into a bloodbath. It culminates, somehow, in even more bloodshed as Monstro Elisasue explodes into a puddle of viscera and goo. It’s the type of over-the-top finale that goes hard and, more impressively, takes its time to splatter as much blood as possible getting there. It’s the type of no-holds-barred climax that doesn’t come around very often. Yet it’s not without emotional impact, either; Monstro Elisasue is far more accepting of herself than Elisabeth was.

Terrifier 3 – Doomed Shower

It’s likely safe to assume that as long as there’s a year with a Terrifier movie released, Art the Clown’s shenanigans will wind up on a Best Kills list with multiple worthy moments for consideration. Terrifier 3 certainly offers up a few choice kills for this list, from a surprise mall explosion to medieval torture by rats. But it’s director Damien Leone’s gender-reversed callback to his iconic Terrifier kill that stands above the bloody pack. On his way to Jonathan (Elliot Fullam) at the university, Art (David Howard Thornton) makes a pit stop at the dorm shower for some Christmas carnage. This centerpiece moment delivers an extended dismembering for the unlucky couple discovered getting frisky in the shower. Art makes sure to give the most attention to Cole (Mason Mecartea), who gets arguably the most graphic death of the film; no anatomy is spared during Art’s deranged bisection via chainsaw.

In a Violent Nature – Yoga Pretzel

It’s difficult to imagine anything toppling a Terrifier film from the top spot in the Best Kill list, and yet the experimental slasher In a Violent Nature clinched it with a creative demise best summed up with two words: Yoga. Pretzel. This centerpiece kill sees undead Johnny come upon Aurora (Charlotte Creaghan) as she’s practicing yoga cliffside. He disembowels her with a rusty hook, then pulls her head back and through the gaping hole in her torso, contorting her body into a gruesome pretzel. It’s a lively death that stands out, especially in the context of this quiet arthouse slasher, but it’s all the more impressive considering how this elaborate, ambitious sequence took months to pull together. A challenging production couldn’t hold back undead Johnny or the incredible SFX team, and the result is the most memorable movie kill of the year.

The post Best of 2024: The 10 Best Kills in 2024’s Horror Movies appeared first on Bloody Disgusting!.

Bill Skarsgård is playing Nosferatu/Count Orlok in Robert Eggers’ (The Witch, The Lighthouse) new movie Nosferatu, and audiences can see the vampire’s appearance on the big screen on Christmas Day. But there’s a lot more to Count Orlok than a surprising visage.

Releasing in theaters on Christmas, Robert Eggers’ Nosferatu is a gothic tale of obsession between a haunted young woman in 19th-century Germany and the ancient Transylvanian vampire who stalks her, bringing untold horror with him.

Lily-Rose Depp stars as Ellen Hutter, the woman who unwittingly summons the beast and finds herself locked in a dark love triangle that also includes her pure-hearted husband Thomas (Nicholas Hoult).

“What’s really interesting about their dynamic is that it’s not so straightforward as she’s being pursued by this disgusting beast that she wants nothing to do with,” Depp told Bloody Disgusting about Ellen and Orlok’s relationship. “There is a real yearning and connection that goes both ways between the two of them.”

Depp continues, “That was an interesting line to toe because Rob [Eggers] wanted there to be, especially, without giving anything away, a real palpable sensuality in those [late] scenes, which I think makes everything all the more terrifying and complex and fascinating to watch. Because he also represents the darkness within her that she’s trying to come to terms with. Again, without giving anything away, I think indulging in that also represents accepting within herself.” 

Eggers dove deep when researching for Nosferatu, pulling from folklore for his central antagonist. In other words, he had a specific vision in mind for Count Orlok. Yet Skarsgård still brought something unexpected to his performance that surprised the director and added depth to the vampire’s connection to Ellen.

Eggers tells us about his Count Orlok, “I mean, I suppose it is in the writing. I was thinking back to [George Gordon] Byron’s poem, that was potentially one of the first or second times that a vampire is mentioned in English language literature, and even there, the vampire, in the Anglo-literary tradition, has some melancholy and some pathos. So I suppose I was thinking about that.

“But I was so obsessed with making him a villain that I sort of forgot about it. And Bill brought that pathos. It was really important because it’s obviously Ellen’s story; she’s the victim of this vampire, and she’s also the hero of the story. But Orlok is just as alone as she is.“

It’s that strange loneliness of both characters that’s at the heart of Nosferatu. I wrote in my review, “Nosferatu isn’t a love story in the conventional sense – this demonic Strigoi isn’t capable of such an emotion – but it does depict one of the most riveting and macabre love triangles in cinema. Thomas and Ellen’s love is pure and wholesome and occasionally even raw, but Ellen remains an irresistible siren to her violent, evil ex-lover. One willing to destroy everything.”

My 5-star review for Bloody Disgusting continues, “It’s a grotesque twist on a love triangle, one that Eggers fearlessly pushes into revolting territory thanks to his eponymous vampire.“

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