Robert Eggers is one of those directors that always puts out exactly the movie he wants. I’m not saying that as a comment on his professionalism or his attitude, I’m saying that because he clearly has the ability to shut down naysayers. If he didn’t, we’d never get the archaic dialogue of 2015’s “The Witch” or the grainy imagery of 2019’s “The Lighthouse.” Here’s another idea that must have sounded ludicrous to his financial backers: a remake of a groundbreaking vampire film from over 100 years ago, a film whose legendary status makes it practically untouchable. The original came out five years before groundbreaking talkie “The Jazz Singer,” and there must have been a fear that Eggers’ take on the material would be about as well-received as the 1980 Neil Diamond version of that film (which is to say not well). But because Eggers puts out only what he wants, we have this sexually-tinged horror movie competing with Christmas blockbusters at the box office, and admirably holding its own.

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The film tells the tragic story of Thomas (Nicholas Hoult) and Ellen (Lily-Rose Depp), a young couple living in Germany in 1838. Real estate agent Thomas is on the verge of a promotion by his boss, Herr Knock (Simon McBurney), who needs him to do just one thing before securing his future: travel to Transylvania and get a signature from a wealthy client, an eccentric count. Ellen (who dabbled in summoning supernatural spirits when she was a teenager) doesn’t want Thomas to go, as she’s having weird dreams and fearing that her past may not be done with her. But Thomas needs the promotion, so he leaves Ellen with friends Friedrich (Aaron Taylor-Johnson) and Anna (Emma Corrin) and sets out to meet the mysterious count by the name of… Orlok (Bill Skarsgård). Yeah, we know it’s really Dracula, but the 1922 film couldn’t get the rights to the book, so we’re stuck with Orlok.

Orlok is as imposing as he is bizarre. He lives in the creepiest castle imaginable, drinks questionable beverages (an Eggers staple), and sleeps in a coffin all day. Thomas takes care of business and later gets into a fight with Orlok, which both parties barely survive. He flees to what he thinks is safety at home, unaware that Orlok is already traveling there to seize control of Ellen, herself becoming more sickly as Orlok grows in power, much to the distress of her caretakers. The vampire (or “nosferatu”) wants her all to himself, and he’s willing to bring a deadly plague upon the entire country, not to mention harming her loved ones, in order to have her. Thomas’s only hope lies with controversial doctor Von Franz (Willem Dafoe), who is an expert on vampires in theory, but has no practical experience. Things get really icky as Orlok unleashes his powers further, including using hypnosis to get victims to violate some serious taboos.

“Nosferatu” is certainly a competent movie. Eggers is seeing his vision through to its full potential in areas like production design and performances. His drive and eye for detail are required of any filmmaker that wants to take on the challenge of such a cinematic institution. I can’t think of a filmmaker that could have done a better job with this material, I just question how badly we needed this job done at all. I would have been fine with leaving the 1922 classic alone and not subjecting audiences to some of the more unsavory aspects of this movie. Indeed, Robert Eggers has once again put out exactly the movie he wants. I just can’t say that it’s the movie “I” want. If you’re not in the mood for something so dark, serious, and occasionally stomach-churning, then this probably isn’t the movie “you” want.

Grade: C

“Nosferatu” is rated R for bloody violent content, graphic nudity and some sexual content. Its running time is 132 minutes.

Contact Bob Garver at rrg251@nyu.edu.