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Between the hordes of stowaway rats that accompany Dracula's arrival, and a town-plaza dance of folly by doomed survivors (a Herzog addition), it's like being present at the birth of a medieval legend.
The acting is too eccentric and the narrative drive too weak to satisfy fans of the genre, but Herzog's admirers will find much in the film's animistic landscapes and clusters of visionary imagery.
It's funny without being silly, eerie without being foolish and uncommonly beautiful in a way that has nothing to do with mere prettiness.
Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.
Herzog tears down as much as he revives in this beguiling incantation of silent cinema
Replaces unnerving gore with an eerie, erotic beauty.
Werner Herzog's 1979 homage to F.W. Murnau's 1922 silent film is an appropriately chilling telling of the Gothic tale filled with delightfully scary touches and recreated camera angles from Murnau's original.
Sometimes dismissed for being too slowly paced and too slavish to its source, it is in fact superior to the original.
You can love this movie without having to admit it's merely an okay version of Dracula.
A serious-minded, true-in-spirit redux.
It is a simple and well-known story but sadly this version overcomplicates it to its detriment.
Sumptuous yet earthy, philosophical yet humorous, it's a masterpiece in its own right.
A competent, atmospheric remake, but, considering the quality of Murnau's masterwork, is it necessary?
Herzog and Kinski succeed here because they convey a sense of pity for a creature so visually repulsive it's hard to look at him.
The film's reason for being (it's a shrine to Herzog's favourite German director) is also the end of the conversation.
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