by Foster Harlfinger, Contributing Writer
Pulled from “The Captain’s Log,” a chapter of Bram Stoker’s original Dracula novel, The Last Voyage of the Demeter tells the story of the ill-fated crew of The Demeter en route from Bulgaria to London. Little do they know that one of the several mysterious wooden crates acquired by the crew contains none other than the Prince of Darkness himself.
Captain Eliot, brought to life by a perfectly utilized and delightfully mutton-chopped Liam Cunningham, has assembled a largely trustworthy crew of mixed experience. Unbeknownst to his men, Eliot has planned for this to be his final voyage aboard The Demeter, with the intention of bestowing his title upon his trusted first mate Wojchek (David Dastmalchian). Eliot’s crew features a number of players who do not appear in Stoker’s original novel, including Eliot’s grandson Toby (Woody Norman), newcomer Dr. Clemens (Corey Hawkins), and unexpected stowaway Anna (Aisling Franciosi). The added characterization for its primary crew may not be what the audience came to see, but it certainly makes for a smoother ride.
The film’s “Dracula on a boat” premise is a genius expansion upon the original story in a time when nearly every minuscule detail of Stoker’s novel has already been adapted in some form. Director André Øvredal’s visual style is a perfect match for the film’s gothic imagery, and composer Bear McCreary’s roaring score is an especially impressive addition given that he was a last-minute replacement following Thomas Newman’s departure in June 2023.
Brought to life by the six-foot-seven Javier Botet, the film’s depiction of Dracula is visceral and gnarly, completely divorced from the romantic nature of any previous incarnations of the character. The Last Voyage of the Demeter reaches its peak in its final 15 minutes when everyone’s favorite vampire is at last on full display. Unfortunately, and somewhat perplexingly, the film chooses to use its antagonist so sparingly in its first two acts that it never fulfills the true potential of its top-tier premise. The film could have gone one of two routes: pure, unadulterated nightmare fuel, or wild, campy fun. Either approach could have resulted in a spectacular cult classic, but the film spends too much of its runtime at an awkward middle point between the two that neither approach fully lands.
By all accounts, The Last Voyage of the Demeter is a well-made film, and Øvredal’s direction once again elevates the material as it did in The Autopsy of Jane Doe and Scary Stories to Tell in the Dark. The cast is likewise strong and generally well-utilized, and the production design on The Demeter is breathtaking. It is a shame, then, that the film ultimately feels like a missed opportunity. The ingredients are all there, but the film never fully delivers on the expectations it sets for its audience. Worth watching for the craft and spectacle on display alone, The Last Voyage of the Demeter is a good film that is just a few tweaks away from being a great one.
Rating: Low Side of Liked It
The Last Voyage of the Demeter is currently playing in theaters
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