Janet

An absolutely fantastic piece of work. How Filho turns the warm, humid textures of northern Brazil into something claustrophobic and quietly menacing should be studied. The atmosphere itself does half the storytelling. Even stronger with the historical context in mind — corruption seeps through every layer: the social, the institutional, the interior. What begins as indifference in the opening moments slowly calcifies into something far more damning. A film that lingers, politically and emotionally. Justice for the victims of the dictatorship — may their memory hold.

Not as good as the first 3 but still kept me locked in on my diabolical 21 hour travel journey

THIS is what I wanted out of the most recent *Nosferatu* adaptation. Coppola’s Dracula is completely electrifying — the kind of gothic spectacle that throws everything at the screen and somehow makes it work. It’s almost bad in places, which weirdly becomes part of the charm. Keanu Reeves is objectively terrible here (sorry). Some of the effects are laughably dated. But none of that really matters because the film is operating on such a heightened level of style that it pulls you in anyway. The imagery is incredible. Coppola leans fully into religion, sexuality, and gothic excess — shadows moving on their own, blood-red skies, candlelit interiors that feel like living paintings. And the camp!!!!!!! This thing is gloriously campy without ever feeling accidental. It’s operatic, sensual, excessive, and totally committed to the bit. A gothic horror film that understands Dracula should be a little ridiculous — and all the better for it.

Give him the Oscar.