Universal continues to reinvent its classic monster movies in the wake of the failed Dark Universe experiment. Their latest attempt takes a different approach to Bram Stoker’s Dracula by focusing on one chapter: The Captain’s Log. This chapter explores Dracula’s journey from Romania to England and delves into the fate of the crew members he feasts on.
However, The Last Voyage of Demeter, a 2-hour film that follows Renfield as this year’s unique take on Dracula’s story, falls short of its promising concept. The film, produced on a grand scale reminiscent of Hammer’s gothic period horror films, stands out in a genre known for smaller budgets aimed at a younger audience. It’s taken two decades for the film to finally reach the screen, undergoing numerous cast changes and revisions to the script penned by Bragi Schut Jr.
Directed by André Øvredal and featuring Corey Hawkins as the main character, the film suffers from the excessive involvement of various filmmakers over its lengthy development. The lack of a clear vision and purpose hampers the final product, leaving audiences questioning why they should care about the journey they are taken on.
One of the film’s major missteps is its failure to capture the essence of Dracula as a multi-dimensional villain. The best adaptations have portrayed Dracula as both sophisticated and savage, but in this film, he is reduced to a generic creature with an uninspired design. The effort put into the film’s production design is not reflected in the portrayal of Dracula himself, resulting in a cheap and unimpressive monster.
Another flaw is the film’s inability to create a sense of claustrophobia and impending doom. Despite the setting on a ship, the film fails to generate the nightmarish fear of being trapped with a monster. The director draws inspiration from Alien, but he falls short in creating the same tension and atmosphere. Instead, the film relies on excessive gore and predictable jump scares that elicit more eye-rolls than genuine thrills.
Corey Hawkins delivers a decent performance as the doctor on the ill-fated ship, but his character lacks depth and conviction. Aisling Franciosi makes an impact as a surprise crew member, but her role is limited to being boxed up for later consumption. The film offers little surprise or suspense, making it a tedious wait for the inevitable conclusion.
In the end, The Last Voyage of Demeter is a doomed voyage for its crew, the audience, and Universal’s monster movie strategy as a whole.
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