the greatest musical ever made sorry

unintentionally made a double feature of boys’ boarding school hell, having watched this right after Les Amitiés Particulières. This is certainly the crueller of the two, but also a lot more revigoraring thanks to Lindsay Anderson’s playful, rebellious streak. There’s a strikingly similar romance between boys of different ages in both films, in this one it’s more of a subplot but no less effective... perhaps even more so in it’s politics. Instead of giving in to a tragic end, the fags here are leading the revolution! Happy Pride!
The journey of Thomas Hutter to Orlok's castle, and the perils that await him therein, is a hypnotic nightmare ballet of the highest order - truly one of the most entrancing moments in contemporary horror. It's a pity the Count itself, once more clearly visible, is rather underwhelming - every time Bill Skarsgård opens his mouth is like a bad Gary Oldman drag, and his overall look, while arguably closer to Bram Stoker's novel then any previous adaptation, lacks the…