Over the years, I have grown to expect less during the month of August when it comes to movies. Think of it as a transition phase between the summertime blockbusters and the fall, which brings in the Oscar-baited fishing rods, just in time for award season. So, what do the studios try to shell out when expectations are typically low? It could depend on the year and the specific studio. However, this summer has been a bit unorthodox: the number one movie is NOT an action film and has appealed more to a certain sector of the population, compared to what we are used to seeing AND Hollywood is reeling from the recent clash of screenwriters and actors, directly towards the various studios.
I suppose one way to go is to release a film that would normally be expected later into the year. Of course, for many fans of the horror genre, Halloween is not just a seasonal holiday, but, rather, a way of life; something to be enjoyed and celebrated in some form or fashion all year long. Hey, I consider myself one of those fans. Still, I would like to point out, this particular movie is not your obvious, modern horror film. Sure, it is campy and predictable, at times, but it is executed (no pun intended) in a much more classic style.
Based on “The Captain’s Log,” within the story of Bram Stoker’s “Dracula,” “The Last Voyage of the Demeter” was directed by Andre Ovredal, a Norwegian moviemaker, known for other films of fantasy and supernatural horror, such as: “Trollhunter” and “Scary Stories to Tell in the Dark.” Although the spec script was ready for adaptation some two plus decades ago, development was slow and not ready for filming until 2019. You can probably guess what caused it even further delays.
The opening sequence felt very much like something I might have seen from the 1990s. I do not mean to insinuate that as a bad thing OR a good thing. In a way, it was somewhat endearing, actually. We will eventually make our way back to this moment in the story, but for now, let us return to an earlier time…
Corey Hawkins (“The Tragedy of Macbeth”) is Clemens, a highly educated man, attempting to make his way back to his homeland. At first, he is summarily rebuffed, but son enough, he will show himself worthy as an asset on the ship known as “Demeter.” Also aboard this ship are: Captain Elliot, played by Liam Cunningham (“The Vault”); Wojchek, played by David Dastmalchian (“Weird: The Al Yankovic Story”); Toby, played by Woody Norman (“C’mon C’mon”); Joseph, played by Jon Jon Briones (“Blood Ransom”); Olgaren, played by Stefan Kapicic (“Deadpool”) and Petrofsky, played by Nikolai Nikolaeff (“Togo”). As it turns out, there are a couple of unaccounted “stowaways” on board. THEY are the ones who will set the tone for the remainder of the tale.
The voyage, from point A to point B, is not important here. Simply consider the time it takes to GET from one end to the other and how the time could be stretched by unforeseen misgivings. Do not try to figure out any potential surprise endings or revelatory turnabouts. Even if they DO exist within the framework of the story, the distraction will not help you to enjoy the movie. I think it is a better philosophy to watch the film unfold as though you are an inexperienced child; keep your expectations in check for the sake of the movie.
What makes this film all the more enjoyable is its approach to not show too much of the spectacular characters too soon. The frights are not granted through anticipated, epic jump scares, but mysterious revelations with slow deliberation. The movie does not feel like it is moving slowly, though, just to be clear. In my estimation, the greatest character development comes from the Captain as he struggles to deal with significant loss. His reactions are very easy to sympathize with and it is touching to watch, in the end.
“The Last Voyage of the Demeter” does not bring much of anything new to the table. Horror, after all, is one of cinema’s oldest mediums and this material, in particular, was extracted from a very old source which many of us are fairly familiar with. I will reiterate that predictability is not a dealbreaker for a positive film experience. I was not left disappointed after the closing credits began to scroll on the big screen. Overall, it was a technical treat, as in, the cinematography and sound design and atmospheric details were all stellar. Perhaps the standards have become so high that these amenities will go unnoticed or be taken for granted, but I hopefully not. The fellow horror fans in the audience remained quiet, but respectful, and I walked away comfortable in recommending this movie.
