Film Review - The Northman (2022)

If you don’t know the name of Robert Eggers just yet, you’re about to. The American filmmaker, in just two films (and numerous shorts beforehand), has cemented himself as one of the finest and most gifted filmmakers working today. With 2016’s The Lighthouse, a by turns human drama, sparkling horror and biting, twisted comedy that enthralled audiences. His biggest effort yet is The Northman, an already much-discussed Nordic action-adventure/horror/drama that’s as brutal as it is wondrous. With a bigger canvas – and bigger budget – can Eggers still paint in the way only he can?

From the opening frames where we watch aghast at a volcano slowly bursting from the seams under the harsh, dark grey ash that fills the sky to the final moments of Amleth’s tortuous journey – some of the most eye-popping of the year – Eggers‘ new film is as visceral and extraordinary as his previous two and then some. Armed with the much-talked $90million budget bestowed on him by Focus Features, there’s no argument whatsoever to that every single cent has been put onto the screen, actors and all. His attention to detail is startling and, as some have reported, echoes that of the infamous productions of Apocalypse Now and Heaven’s Gate in the sheer authority and command that Eggers has over every facet of his filmmaking, for better or worse.

In this case his output is very much in the Apocalypse Now column. Whether the ghost of the latter and its virtues at box office have the same implications on this one remains to be seen but we can’t fathom such issues. Truly, it is as intoxicating as it is beguiling and only goes to fortify Eggers‘ place amongst the best storytellers we have. Here, it’s Hamlet that is the basis for this revenge tale of young prince Amleth (Alexander Skarsgard) who sees his father, King Aurvandill (Ethan Hawke) slain by brother Feng (Claes Bang). Vowing vengeance, he finds his way to his uncle and kidnapped mother (Nicole Kidman) decades later, now as a strong, violent Viking who also hopes to free enslaved witch-come-sorceress Olga (Anya Taylor-Joy) who he falls for.

Alongside cinematographer Jarin Blaschke, he’s made the most awe-inspiring, magnificent looking film of the year thus far and, as it crosses into blockbuster territory, it certainly is one of the most beautiful of those, too. Punctured by Skarsgard‘s howling, vigorous central turn alongside Taylor-Joy‘s haunting portrayal, as well as solid work from Bang, Hawke, Kidman and Dafoe‘s sensational tomfoolery, it’s a cast that can’t be faulted. What is a sticking point, and one that may put some off despite its obvious beauty, is the occasional disconnect with its somewhat bitter underbelly. Sure, such films by their very nature have the themes and tones that we experience here as part of their DNA but at times here, you feel as frosty to it as the bitter Nordic seas. While Eggers and co-writer Sjon never sink in their exploration of revenge, family, destiny, folklore, mythology and much more in between, it’s a sticking point that stops the film crossing said waters onto the shores of masterpiece. But it certainly isn’t far off.