Anthony Kirby journeys into André Øvredal's supernatural horror.
Based on the chapter “The Captain’s Log” in Bram Stoker’s classic Dracula, this film is surprisingly effective. Newcomer Aisling Franciosi, in her first U.S. film, impresses as Anna, a victim of the evil Count Dracula. Though she may have been seduced by him, she retains an objective view of the Count. We first meet her as a stowaway on the Demeter. Near death, she can only be revived through a ‘blood transfusion,’ administered by the ship’ doctor and seaman Clemens (Corey Hawkins). Repeated transfusions initially appear to have little effect, but several days into the voyage she begins to recover and confides in Clemens about how Dracula/Nosferatu tyrannically ruled Transylvania, where her family lived for centuries.
As was customary at the time, the ship carries several domestic animals—a sheep, a goat, and some chickens—stored in the hold near the eight large, sealed boxes being shipped to Britain. These animals are brutally slaughtered on the first night, as is a Labrador beloved by the Captain’s son, Toby (Woody Norman). Captain Eliot is shocked and orders all carcasses be thrown into the sea. “What are we to live on for the next three weeks?” grumbles able seaman Abrahams (Chris Walley of Young Offenders fame) in a strong Dublin accent. Abrahams provides the film’s sole comedic relief, though Captain Eliot dismisses his concerns, replying, “Everything is contaminated.”
Overnight, a seaman goes missing, prompting a fruitless search. Other crew members speculate that he may have simply lost his nerve and jumped ship. Captain Eliot commands a full inspection of the vessel. Clemens spends most of the day searching and reports, “Everything is still, and there isn’t even the sound of rats.” “A cargo ship without rats is strange indeed,” remarks Cook (Jon Jon Briones).
Director André Øvredal (The Autopsy of Jane Doe) faces the challenge of creating tension in a story that most viewers already know, with audiences often ahead of the characters. He achieves this through visual style, crafting a haunted atmosphere even in broad daylight. Scenes on deck often appear hazy, like a heat haze, while those below deck feel eerily oppressive. Bear McCreary’s music adds an ominous tone without ever becoming overbearing.
Perhaps the film’s greatest strength is Liam Cunningham’s nuanced, controlled performance as the dedicated Captain Eliot, ranking with his work in A Love Divided. Program notes do not reveal whether the ship used was real or, like Master and Commander (2003), entirely a soundstage creation.
Overall, a stylish, engaging genre film, bolstered by bold performances from both emerging and seasoned Irish actors.
The Last Voyage of the Demeter is available to stream online now.