Watch the brand new first trailer for Nosferatu below:

Here’s the official synopsis:

Robert Eggers’ Nosferatu is a gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake.

Writer/director Robert Eggers is a true craftsman at heart, and his films impact viewers with their attention to detail, meticulous ambience and thrilling sense of narrative and character. Eggers brings that same sense of gravitas to his new look Nosferatu, which is a new adaptation of the classic horror piece, Nosferatu – Eine Symphonie des Grauens, by director F. W. Murnau and screenwriter Henrik Galeen, and which now stands as a classic example of German expressionistic cinema. And after 102 years, the horror returns!

This first-look trailer offers audiences an atmospheric and intense piece of filmmaking that will fill them with dread and promise lashings of blood. Eggers has commented that he wants to produce a film that is a straight-up ‘gothic horror’, and this new work looks utterly terrifying in its construction. Nosferatu has long served as Eggers’ passion project, and you can sense that he’s crafting a film where the focus is to scare the living hell out of audiences.

To bring Nosferatu out of the shadows, Eggers has assembled an incredible cast of actors, including Bill Skarsgård, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin and Willem Dafoe, and all of them are at the top of their game with their performances in this picture. Lily-Rose Depp is flawlessly cast as Ellen Hutter, an innocent who falls under the dark spell of a demonic force, and you can feel her sense of fairness intensely in this first footage. Nicholas Hoult’s Thomas Hutter is a man possessed, and you can see his desperate sanity failing as he tries to make sense of the horrors around him. Aaron Taylor-Johnson and Emma Corrin make a great pairing of Friedrich and Anna Harding and will add a good dose of vigour to the production. At the same time, Willem Dafoe Professor Albin Eberhart Von Franz appears as a dangerous vampire hunting force. You can sense the obsession and, dare I say, a touch of madness as he strives to eradicate the dark force he has encountered.

As yet unseen but already channelling a terrifying presence of pure evil is Bill Skarsgård, who brings to life the iconic presence of Count Orlock, cinema’s original horror monster, and while he’s yet to be clearly seen, his devilish spectre is deeply felt in this trailer. Eggers has heaped significant praise upon Skarsgård’s performance here as Orlock, calling his performance ‘transformative’ and commenting on Skarsgård’s performance, saying, “‘What would a dead Transylvanian nobleman actually look like for real?’ Bill lost a tremendous amount of weight. He’s so transformed in every aspect that I don’t know if people will give him the credit,” said Eggers. “You can see Bill [as Pennywise] in the It make-up; you can’t detect any Bill here. He worked with an opera coach to lower his voice an octave. I think people are going to think we treated it digitally, but that’s his performance.”

This first trailer for Nosferatu is just a tease of the horror that is to come. With its stalking terror, it will surely scare the living hell out of audiences when it arrives in cinemas this Christmas.

Image: Universal Pictures

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Check out the all-new trailer for Beetlejuice Beetlejuice below:

Here’s the official synopsis:

Beetlejuice (Michael Keaton) is back! After an unexpected family tragedy, three generations of the Deetz family (Winona Ryder, Jenna Ortega, Catherine O’Hara) return home to Winter River. Still haunted by Beetlejuice, Lydia’s (Ryder) life is turned upside down when her rebellious teenage daughter, Astrid (Ortega), discovers the mysterious model of the town in the attic and the portal to the Afterlife is accidentally opened. With trouble brewing in both realms, it’s only a matter of time until someone says Beetlejuice’s name three times and the mischievous demon returns to unleash his very own brand of mayhem.

The living are about to get gatecrashed by the dead, as Lydia Deetz (Winona Ryder), alongside her mother Delia (O’Hara) and teenaged daughter Astrid (Jenna Ortega) come face-to-face with the grotesque and rambunctious energy of foul-mouthed bio-exorcist, and love-smitten demon Betelgeuse (Keaton) who has unfinished business with the Deetz family, and who is about to turn their world once again upside down.

Burton once again brings his trademark creativity and unique filmmaking flair to Beetlejuice Beetlejuice, and this is a film that is going to take audiences by surprise! Along with the original returning cast, Beetlejuice Beetlejuice also features two newcomers to the production, with the gorgeous Monica Bellucci playing the role of Betelgeuse’s vindictive undead wife, Delores, and she’s none too pleased with the arrival of the Deetz to the world of the dead, along with Willem Dafoe as Wolf Jackson, a ghost detective who, in life, was a B movie action star, and who is hot on Betelgeuse’s trail!

This first trailer for Beetlejuice Beetlejuice is a damn good watch and promises plenty of cracking fun for audiences, and it’s very easy to see that Beetlejuice Beetlejuice is going to be an absolute must-watch movie when it arrives in cinemas this year

So get ready for showtime when Beetlejuice Beetlejuice arrives in cinemas on September 9.

Image: Warner Brothers Pictures

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Starring Alexander Skarsgard as Viking prince Amleth, who following the murder of his father, King Aurvandill (Ethan Hawke) at the hands of his evil uncle Fjölnir (Claes Bang), Amleth sets out to revenge his father and take his kingdom no matter the cost.

Bringing this colossal epic to life up on the big screen is noted visionary filmmaker Robert Eggers’ who has shown with his last two pictures, The Witch and The Lighthouse, that he has the makings of an auteur, and The Northman again clarifies this. Regarded for his keenly detailed eye and maintaining a strong focus for narrative and character, Eggers devotes everything of himself as an artist to The Northman, and his commitment shows in every frame that makes its way to the canvas of the screen. Appearing as an almost Wagnerian painting, The Northman is utterly beautiful to look upon, yet it hides nothing back from the Dark Age in which its brooding narrative is set. This is an age of iron and blood, and while the locations of Norway, The Rus and Iceland are beautiful to look upon, they do not hide the savagery that takes place.

Eggers crafts The Northman as a truly epic film and looks back to the ancient Viking sagas for the setting for his tale, and he tells the revenge tale of Prince Amleth, which inspired Shakespeare’s own Hamlet. Broad in scope and scale, Eggers dives deep into Norse mythology for his tale and his is a story where both man and The Æsir are at work and where men turn themselves into beasts. The language and style of The Northman are utterly Shakespearian, and it is an altogether different kind of epic film that moves at its own pace and pays tribute to the Icelandic sagas of the past. Amleth’s path to his ultimate revenge is tempered with fire at every turn and he is a character who seeks every strike to last. And as we move forward in the narrative the drama grows deeper and the action wilder.

The film’s cinematography, production design, art direction, costuming, hair and make-up, armoury and general detail are utterly fantastic to look upon, with Eggers truly transporting his audience back to a different time and place. This is a true portrait of the Dark Ages, where life and blood run cheap and where fate and fortune intertwine with each other. Cinematographer Jarin Blaschke focuses on a darkened palette of natural light, both in day and night to capture the dark, somewhat nihilistic tone of the narrative, and roaring fires and stark clouds cloak this film in light. The images he captures are vivid and present Alexander Skarsgard’s Amleth as an almighty titan, and the film’s wild excesses will capture your full attention. The Northman is simply stunning to look upon, and it is like watching an Arthur Rackham painting come to life.

Standing at the centre of Eggers’ mighty narrative is Alexander Skarsgard and this Scandinavian acting force gets to channel his inner Viking heritage as the vengeful and crazed Prince Amleth. Robbed of his kingdom and birthright, Skarsgard’s Amleth is now more animal than man, called the ‘Bear-Wolf’, he has become a ferocious berserker who knows no mercy and who lives for the war cry of the battlefield. But when destiny and fortune present themselves, Amleth seizes on his chance for vengeance and a dark road opens up before him to take it. Skarsgard is an utter beast as Amleth, exuding power and strength as the personification of rage, but as he begins his road to the quest for his own revenge, his character changes in unforeseen ways and is tested by dramatic choices. Skarsgard presents Amleth as a tragic-hero figure and as his quest changes him, as secrets are brought to life and the presence of fate interjects on his behalf, the ethics of his plan soon begin to weigh on his heavy brow. Skarsgard holds the gaze of his audience as Amleth and his raw performance is incredibly powerful in its presentation.

Standing beside Skarsgard is Anya Taylor-Joy as Olga of the Birch Forest, a Slavic sorceress who soon becomes a key part to his mission of revenge as well as the love of his life. Standing as a rare beauty in such a chaotic time, Taylor-Joy’s Olga of the Birch Forest is a strong and powerful woman whose wild sorcery gives her dangerous powers, and she is not one to be trifled with. As an actress, Taylor-Joy presents Olga as a survivor, and she shares incredible chemistry onscreen with Skarsgard, and as the narrative moves forward we see them come together in a primordial love that is touching and exhilarating to watch. Taylor-Joy also jumps headfirst into the muck and blood of production, and she puts her mark on the narrative.

Providing a key level of support to The Northman are performers Nicole Kidman, Claes Bang, Ethan Hawk and Willem Defoe and each has a key role to play in the film’s vengeance narrative. As the treacherous Fjölnir the Brotherless, Claes Bang makes for a striking adversary and he squares up to Skarsgard with sword in hand. Nicole Kidman grabs your attention as the complicated and cunning Queen Gudrún, Amleth’s mother and a woman who is not who she presents herself to be. And there’s plenty of venom laced into her performance. Ethan Hawke is an old-war dog as King Aurvandill War-Raven, Amleth’s father and Fjölnir’s brother who strives to teach his son to rule in the old ways, but who is cut down by cold iron and strikes the spark that leads to his son’s path of vengeance. And finally, Willem Dafoe as Heimir the Fool, brings Amleth guidance where needed, and his kooky performance is sure to keep the audience somewhat ill at ease.

The Northman is a film of savage fury and keeps to the history and customs of the Viking Age. As a portrait of a true pagan society, Eggers keeps everything related to historical accuracy and the strong themes of religion, blood ties and family legacies are sewn into the narrative. Questions of right and wrong and moments of perspective and clarity keep this narrative interesting and the audience guessing. There’s a true ferocity to the storytelling and its presentation in The Northman and when Amleth finally draws forth the demonic sword Draugr and sets to his task of vengeance blood flows and heads roll. Key cinematic moments including The Berserker Raid in The Land of the Rus, which is a fierce and haunting spectacle to witness, and the film’s climactic showdown on the gates of Hel, at the base of the Volcano Hekla, is an awe-inspiring sight to witness, especially when set to the rousing score of Robin Carolan and Sebastian Gainsborough.

The Northman stands alone as an utter triumph of the silver screen. As a thunderous portrait of the Viking Age and its incredibly complex and intricate character study, The Northman succeeds on every level of creativity and this Dark Age picture is sure to bound itself to your soul.

Image: Universal Pictures

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Famed but tormented artist Vincent van Gogh (Dafoe) spends his final years in Arles, France, painting masterworks of the natural world that surrounds him.

You do not get At Eternity’s Gate without Willem Dafoe. As a celebrated actor who has enchanted us in every known genre for more than four decades, Dafoe is a performer who has a passionate commitment to his craft. Whenever he takes on the guise of a new character he completely throws himself into the performance and with van Gogh he finds a man and a character that truly takes him to some extreme places. With a limited script and dialogue, Dafoe instead focuses on his physical performance to exude emotion and expression and he really manages to get under your skin. Through his trial, tribulations and ultimate pain, you can’t help but feel for him, and his troubled existence absolutely fills you with sorrow.

But what Dafoe really gets across with his performance of van Gogh is the idea of the creator persona. Dafoe’s van Gogh simply must create. For him the art of painting is an action he must do absolutely and he is bound to the images of his canvas. For him, it is harder to not paint than it is to paint, and throughout the film you see his drive take him to the brink of insanity. But while it may at sometimes be maddening, Dafoe does not shy away from the beauty of creation and of van Gogh’s vision to create things that are truly miraculous. Aligning ideas of both faith and art, Dafoe’s van Gogh sees his work as truly evocative of capturing the world around him as a gift to his heavenly creator.

Capturing the performance of Dafoe is the incredible eye of Schnabel, himself a noted artist, who makes the cinema screen his canvas with At Eternity’s Gate. For Schnabel, the visuals are what matter here and his attention is focused upon what he can compose in the frame, with the images speaking for the film and above the dialogue. With his camera, he really gets inside the mind of van Gogh and more importantly what he thinks, and with his almost documentary style he seeks to give his audience a behind-the-scenes look at the mind and actions of the great van Gogh.

With At Eternity’s Gate cinematography is everything, and coupled together with the haunting score of Tatiana Lisovskaya we have something incredibly moving. Cinematographer Benoît Delhomme (The Theory Of Everything, Lawless) uses light and shadow to paint incredible images here and he truly captures the endless beauty of the French countryside in pristine beauty. Fitting an artist of van Gogh’s relevance it is ideal that the film is told through images. With the use of wide-angled primes and fish-eyed lenses, we get the chance to see through Vincent’s own eyes, giving us an inside look into the inner workings of his own mind as it were. Captured with only natural light the film garners its own unique colour palette that is evocative of the painters work and you’ll find yourself enveloped with the images that are presented before you.

Bold and breathtaking, At Eternity’s Gate is an incredibly moving piece of cinema that utterly enchants its audience at every step. You see inside the mind of a truly creative soul and of his will to create. As a testament to the great van Gogh At Eternity’s Gate lives up to his true promise and its images will stay with you long after the credits have faded away.

Image: Transmission Films

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