Movie Review: ‘The Last Voyage of the Demeter’
Plot: An adaptation of the “Captain’s Log” chapter from Bram Stoker’s 1897 novel “Dracula,” The Last Voyage of the Demeter follows the doomed exploits of the crew of the self-same ship. Led by Captain Elliot (Liam Cunningham), the Demeter sets sail from Varna, Bulgaria with a cargo of wooden crates from Romania. Yet an evil in the form of a vampire is also onboard, violently killing a member of the crew one by one with each passing evening. Led by Clemens (Corey Hawkins) the ship’s doctor and Wojchek (David Dastmalchian) its first mate, the crew decides to make a last-ditch stand to destroy Dracula before the ship reaches England.
Review: Since Bram Stoker published his seminal work Dracula in 1897, the titular fictional character has been portrayed on film over 200 times, second only to Sherlock Holmes. For whatever reason the demonic ghoul has mesmerized audiences for over a century. While the staying power of the character is undeniable, there are only so many ways to tell the tale. There have been some remarkable yarns over the decades but eventually, things grow stale. Thankfully director Andre Ovredal offers audiences some fresh blood by exploring a relatively obscure episode in Dracula lore.
I’ve always believed that horror films fall into three categories: terrifying and narratively compelling (The Conjuring), unscary and narratively tedious (House of the Dead), and narratively compelling but not necessarily scary. Director Andre Ovredal’s The Last Voyage of the Demeter falls squarely into that last category. While not particularly frightening, Ovredal does an excellent job of creating a mood and atmosphere where dread pervades the entire film. I constantly felt on edge, as if death was lurking around every corner.
Bragi Schut Jr. and Zak Olkewicz’s script has drawn ridicule as being essentially “Dracula on a boat,” but I feel that’s an unwarranted and reductive criticism. It’s more accurate to say that Demeter is a haunted house at sea, except that the ghost in this case is a vampire, with a little bit of Agatha Christie’s Ten Little Indians thrown in for good measure. This is also very much a period piece and Schut’s research into the time period shows, with the set design and costumes lending an air of authenticity. Ovredal leans heavily into Schut and Olkewicz’s vision and it mostly works.
What The Last Voyage of the Demeter lacks in scares, it more than makes up for in its characters. Liam Cunningham of Game of Thrones fame makes for a stalwart and empathetic captain. The voyage to England is in fact meant to be his last, with his intention to purchase a cottage in Ireland and retire with his grandson Toby (Woody Norman), the ship’s cabin boy. His arc lends an air of tragedy to the film that was greatly appreciated. David Dastmalchian meanwhile continues to be one of this generation’s best character actors. His stern, sensible, and rigid Wojchek slowly degrades as the reality of Dracula becomes more and more paramount. Aisling Franciosi’s also shines as Anna, an unwitting stowaway and forced slave of Dracula, although I do wish her character was more developed.
The standout however is Corey Hawkins’ Clemens. Thus far Hawkins’ career choices have ranged the gamut, from Dr. Dre in Straight Outta Compton, to Macduff in Macbeth, to Benny in In the Heights. His acting range is readily apparent, and Hawkins continues to stretch himself here. Sporting an impeccable English accent, Hawkins’ Clemens serves as the voice of reason and rationality. A black doctor who’s been rejected by society, Clemens seeks to have the world make sense. The fact that he’s confronted with a supernatural being that contradicts his view of the world makes for a compelling storyline. It’s also an excellent callback to Stoker’s work where one of the main themes was the confrontation between the science of the modern world and the superstition of the old one.
Additionally, I’d be remiss if I didn’t mention the excellent work of Javier Botet as Dracula. The prosthetic makeup and creature design are more akin to Max Schreck’s Count Orlok in F.W. Murnau’s Nosferatu rather than Gary Oldman’s debonair English gentleman in Coppola’s Dracula, but it’s Botet’s physicality that makes the role sing. He’s gruesome, vicious, and imposing. Botet’s Dracula is an apex predator ready to devour his prey and I loved it. Ovredal’s version of Dracula works best when it relies on Botet’s inherent talent. The issue lies when the CGI version of Dracula appears on screen. The poor quality took me out of the movie.
My biggest issue with The Last Voyage of the Demeter was the ending. Rather than go for the jugular (pun intended), for something vicious and definitive, Ovredal leaves the door open for a sequel. Since Demeter made only $20.3 million against a $45 million budget that’s unlikely to happen, which makes the decision all the more frustrating. It almost smacks of studio interference and one wonders if Ovredal had a different ending in mind altogether.
Nevertheless, The Last Voyage of the Demeter is definitely a movie worth your time and one I encourage you to set sail on.
If you dare.
1 God Awful Blind Yourself With Acid Bad
2 Straight Garbage
3 Bad
4 Sub Par
5 Average
6 Ok
7 Good
8 Great
9 Excellent
10 A Must See
The Last Voyage of the Demeter : 7/10
