As you might already know, THE LAST VOYAGE OF THE DEMETER
(2023) is an adaptation of The Captain’s Log chapter from Bram Stoker’s 1897
novel Dracula. In most film adaptations of the story the travel from Transylvania
to England is passed over quickly so the story can get to the ‘good stuff’. But
what if the good stuff began on that ill-fated ship transporting the Count and
his boxes of home earth? Sure, we all know the fate of the ship and that
Dracula makes it to his destination but what are the details of the voyage?
This film expertly tells that tale with much more energy, atmosphere and grue
than I expected. This is a pleasing exercise in lush period horror and harsh
vampire creepiness that is far more immersive and involving than some
adaptations of the entire story. The filmmakers smartly keep the reality of the
time and place centered, adding plenty of detail to the characters and shipboard
working life in the 19th century. I found myself caught up in
learning about how things are done on the ship and actually wanted to spend
more time with the cook and other members of the crew. The cast is excellent
never becoming easily readable ‘types’ and acting like real people aware of
their circumstances. The slow progression of their dawning knowledge of what is
happening is well played with a consistent tone and a firm handle on how these
folks would react to each escalation.
One of the best things about the film for me is the realization
that is often overlooked by horror fans that each human death is a tragedy.
Each person on this ship had a life stretched out before them that is being cut
short so a monster can simply travel to a new land. THE LAST VOYAGE OF THE
DEMETER makes us feel the loss of nearly every member of the crew making its
point early on with a shocking choice of innocent victim. This is dark tale and
it is told in a manner that causes empathy in the audience from the outset. It
provides the requisite thrills but remains a strong condemnation of the
horrible actions it depicts. This is supernatural monster story and, one could
argue, merely a portion of the whole tale but it plays like a complete piece
that is satisfying on its own while begging for a continuation that will sadly
never be made. It’s a shame that period horror films seem to be the one form of
the genre that cannot find a way to be profitable.
CONVICT 99 (1938) – 6 (fun comedy with Will Hay as a prison
warden)
LEGION OF SUPERHEROES (2023) – 5 (mediocre animated try at
the Legion)
BARBIE (2023) – 9
TIGER OF THE SEVEN SEAS (1962) - 6 (fun Italian pirate
adventure)
A MAN CALLED RAGE (1984) – 6 (very flawed but entertaining
Italian post-apocalyptic tale)
CALLING DR. DEATH (1943) – 6 (rewatch on Blu)
WEIRD WOMAN (1944) – 7 (rewatch on Blu)
THE LAST VOYAGE OF THE DEMETER (2023) – 8
DEATH GAME (1977) – 7 (finally caught up with this nasty
little gem)
COME ON DANGER (1942) – 5 (standard Tim Holt western)
WILD MONEY (1937) – 7 (fun newspaper tale with Edward
Everett Horton)
CONQUEST (1983) – 7 (rewatch on Blu)
LAKE OF THE DEAD (1958) – 7 (Norwegian folk horror)
TILBURY (1987) – 6 (Icelandic folk horror)
BLUE BEETLE (2023) – 8
THE FINAL EXECUTIONER (1984) – 6 (post-apocalyptic Most
Dangerous Game variant)
FOUR MEN AND A PRAYER (1938) – 7 (John Ford drama with some
wild tone shifts)
WARRIOR OF THE LOST WORLD (1983) – 3 (thought I had seen
this – woof)
KING OF THE BULLWHIP (1950) – 6 (pretty good Lash La Rue
B-western)
STAR TREK III: THE SEARCH FOR SPOCK (1984) – 7 (rewatch)
JUST PALS (1920) – 6 (silent John Ford film with Buck Jones)
TALK TO ME (2023) – 7
REVENGE (2017) – 7 (bloody and effective French rape/revenge
tale)
TARZAN AND THE GREEN GODDESS (1938) – 6 (edited from a
serial - this thing moves fast)
$10,000 BLOOD MONEY (1967) – 7 (very solid spaghetti
western)
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