In the midst of reading Neil Price's Phd thesis-book The Viking Way, I happened to stumble upon this 2024 movie by someone I've never heard of. I'm going to review this one for no particular reason, and there's every possibility this will be among the least consequential things I ever write.
Even so, fair warning : this review will contain detailed spoilers. There's just no way I can go on the rant I want to go on without giving the whole game away, so I won't try. Be further advised that this isn't a movie I actually care about in the slightest, and while it may appear otherwise in what follows below, this is only for the sake of hyperbole. In fact, despite everything, the movie left a lingering sense of "that was rather good, actually."
SPOILER-FREE BIT : In terns of production quality this is downright slick. Set somewhere in the icy north of the 19th century, the cinematography is excellent. The costumes are top quality, the acting is on point, and the pacing is just right – likely a bit slow for some, but right for the story in my opinion. The extraneous dialogue is enough to give the characters some depth without feeling tacked-on, and generally everything fits together pretty harmoniously. It's a solid setup for a horror movie : good atmosphere, sensible enough characters, a decent premise. Good job, team !
The plot revolves around a small group of fishermen led by a woman who inherited her husband's business. One day a ship goes down and they find a group of apparently desperate, almost rabid survivors. In their immediate rush to escape (fearing their own small boat will capsize), our protagonists are forced to kill one of them, who sinks into the blackness.
Throughout the rest of the movie, our characters are increasingly concerned and divided over the possibility that the dead man has become a draugr bent on revenge. Full marks for bringing this under-used bit of folklore to the world of cinema, and the resulting character conflicts are well done. Some are convinced from the off that it's a draugr, some initially aren't, but rarely does disagreement becoming anything unbelievable. Character interactions remain fundamentally normal, rather than the usual "let's immediately set everyone at each other's throats" approach which many movies are apt to do. No, here things might get argumentative, but there are no challenges to authority, and breaches of trust, no disagreement that goes beyond the bounds of reconciliation.
It's a welcome change from the usual stock movie script. About the only minor thing I could pick up on in the preliminary stages of the film is that though it's certainly creepy, it's not really very scary. It's well-executed, but somehow needs to induce just a bit more fear in the audience.
What I haven't mentioned are the reasons our plucky band are concerned about the draugr. For that, I'm afraid I have to go into spoilerville. Stop reading now to avoid disappointment, unless you don't care about such things.
SPOILERS GALORE : We get a host of clues that there's a draugr afoot, not all of them definite. Actually the movie builds this theme up quite nicely, with initially just one older lady (Helga) convinced they're being haunted. Most of the rest disagree, but they respect her, and don't treat her with disdain. She puts up charms to guard against both spiritual and physical attacks, saying that the draugr can invade also the mind as well as being a creature of flesh and blood that can bash your head it. People argue about this, but nobody does the obviously-stupid movie trope of removing the harmless bundles of wood that she thinks will provide a supernatural defence.
And we get some nice bits of draugr-lore and a slow, well-constructed development : one of the fishermen chants a creepy draugr-rhyme in his sleep, and the leader (Eva) begins to see visions of the draugr in her room and around the camp. In most cases, it's clear that this are only visions, with the draugr disappearing when interrupted. Only in the first sighting are things more ambiguous, with the creature appearing outside hunched in the snow, coming towards her but then again disappearing from view once she finds someone else : here we can't tell if the draugr has literally vanished or has just run out of view.
There are much more concrete signs of the draugr though. After nearly exhausting their food supply, our unfortunate band finally have a good catch and their larder is resupplied – enough to feed all half-dozen of them for some considerable time. But the next morning it's all gone. Bits of fish, especially the heads, lie strewn about the landscape. Helga goes missing and is eventually found dead, frozen upright in a kneeling position. One of the coffins of the men they buried from the ship is found opened and empty (the lid placed back with the nails on top), with the others still containing bodies. And two of the crew go insane, one almost murdering another until he's forcibly removed by means of a hammer (resulting in his death) while another gets stabby and then slits his own throat. These men have been worried, but quite sane and amicable right up until their final moments.
At last we have the Final Showdown between Eva and the draugr. He confronts her in the house in a rather good creepy sequence where he slowly comes down the stairs and she hides under a table, and all we see is that his clothing is surprisingly smart. But then we see his hideous and ruined face, which she blasts with a shotgun and then burns the whole place to the ground with alcohol, knowing that only fire can stop a draugr.
Except... then we see a new sequence. It turns out it wasn't a draugr at all, just one of the Basque men from the ship that went down. She's actually just murdered an innocent man who explains (in language translated for the audience only) that he's very sorry for stealing all the fish. All his horrifying attributes are only in his her mind. Instead of a terrifying supernatural corpse sustained by hate and a love of cruelty, the real monsters turn out to be work-related stress and casual racism.
Look, this is a good idea. It's a clever twist on the more typical "rational people turn out to be dogmatic and wrong" plot, but the execution makes no sense. This means the ending, in the space of a few seconds, instantly undoes all the hard work the rest of the movie has done in bringing us to the final confrontation.
If this had been an episode of Uncanny, I'd have found myself on Team Believer. True, not everything here requires a supernatural explanation, and some events can indeed be explained by stress, hunger, and fear of the unknown. The problem is that there are massive unexplained holes here which should have been explained : tell me it's a magical monster and I'll believe it, but ask me to accept that the explanation is rational and I'm damn well going to go looking for rational explanations. Without suitably clever explanations as to how everyone could be so mistaken about things which seemed completely inexplicable, it feels like the writer is being extremely lazy. It would be a bit like if a Scooby Doo episode ended with, "nope it definitely wasn't a ghost" and nothing else.
For example, how has this single man escaped the shipwreck ? Actually back up a bit, why were he and all his comrades lurking in a tiny, sinister, damp cave on the island rather than being on the surface trying to attract attention ? Why, after just one day on the island, did they rush the small boat by jumping into the icy water ? Sure, they're desperate, but this is asking a bit much.
Worse is how that one guy gets off the island to the mainland, a distance which appears to be several miles. If they had their own boat they'd have already used it, so this by itself shoots a massive hole in the subsequent plot. There is absolutely no reason to expect that any survivors could possibly have made it to shore.
Then there's the fish. Sure, he's hungry, but we see enough fish to feed a small group for many days at once. This guy has stolen all of them, single handed, and scattered their filleted remains across the land, has he ? Not bloody likely. And are any of the leader's visions of him real ? If so, then he did a pisspoor job of trying to appear non-threatening, even if hunger and fear are working in her mind to make him appear worse than he is.
Of course we also have the frozen-solid Helga. Sure, someone might wander off and get lost. But frozen in a kneeling position looks a lot more like "work of demonic entity" than "unfortunate case of misdirection". Similarly, I believe that people in this situation could go insane and turn against each other, but not in the way it's portrayed here. You aren't going to go into murder-suicide mode almost instantly : again, that feels far easier to explain as possession or malign influence than the flawed nature of humanity.
Worst of all is that missing corpse. Where's it gone ? Who's stolen it ? Not Helga, presumably, being an old woman. So the Basque sailor ? Why, what's he going to do with it ? Why has he un-nailed a coffin and not re-sealed it ? Where did he put the body ? Why just that one and not the others ? Did he have to open all the others first, and where did he get the hammer ? Did he politely put it back after his inexplicable grave-robbery, or did he just happen to have one with him anyway ?
I think what winds me up about this is that there's very little clue that it might not be a draugr at all. Not that there's none : there's a nice quote about how the living are always more dangerous than the dead, and it's clear that some of the draugr-sightings might just be hallucinations. But the overall trajectory is very clear, going from "maybe it's a monster" to "yes, it's definitely a monster, run like hell".
To be fair, there could be explanations for all of the misinterpretations. But what we needed was a few minutes (a montage flashback) to show how all this had come about, say, showing him disappearing in the snow when she saw him outside; his grief over his comrades and his need to exhume.... well no, probably not that bit. Maybe there's an explanation for that, but it's not at all obvious what it is.
Without the movie even trying to explain the parts which made it clear there was a supernatural entity at work, it feels like the audience is cheated. The premise is clever and the setup is well done, but if the explanation is supposed to be rational, it's deeply frustrating when half the clues seem to pretty much exclude a logical interpretation. A draugr explains everything easily and naturally, whereas a lost foreigner really doesn't.
My compromise : he wasn't a draugr but a necromancer. Then we get a more satisfying supernatural element without an actual monster (so still giving us a plot twist) which still explains everything a hundredfold more easily than what we're expected to believe. The stolen fish, murder, grave-robbing and insanity are all related to sinister rituals...It undermines the moral message, to be sure, but it makes the whole thing a heck of a lot more fun.
I get the intention to show that xenophobia is bad, that fear is literally the mind-killer, but I like monsters to be monsters. If you want to explore morality by way of the supernatural, or play mind games with the audience, then you need to have things fully-thought through. As it is, it feels like trying to have it both ways, to say, "actually, there was nothing weird going on at all, hahah, how silly to think so" while at the same time claiming "these people acted in a perfectly sensible way given the evidence". These are plotholes that need to be seen to be sealed off, otherwise it feels like the movie's declaration of what happens feels incredibly forced and unbelievable. Ironically, the movie's important message that we're vulnerable to misinterpretations is undermined by its own wholly unbelievable interpretation of its own events.