There are some key words and phrases that I try to avoid in my movie reviews. I don't ever say "we stan *insert whatever performer/director/selling point here*". It's ridiculous, and reduces an opinion to something that seems to be revelling in how much it can lack objectivity. I also try to avoid referring to any films as "just vibes", but I'm not as staunchly against that descriptor. Sometimes films are that way, they can be sumptuous mood pieces, washing over you and being appreciated for the fact that they're . . . just vibes.
The Northman is a muddy and bloody Viking tale. It has the usual gorgeousness you'd expect from director Robert Eggers, who also co-wrote the film with Sjón (based on a classic tale by Saxo Grammaticus), and there's a cast that includes Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman, Claes Bang, Ethan Hawke, Willem Dafoe, and Bjork, among others (keep your eyes peeled for both Kate Dickie and Ralph Ineson in small roles, making this a bit of a The Witch mini-reunion). The Northman is all of that, but it's also . . . vibes.
A King is killed. That happens near the start of The Northman. Many years pass. A young child grows up to be a strong man (Amleth, played by Skarsgård), and that man wants revenge. His mother (Kidman) has become the wife of his father's murderer (Fjölnir, played by Bang), which may make things tricky as Amleth plans to slaughter anyone who gets in his way. He's helped in his resolve by Olga (Taylor-Joy).
While the dialogue is fine throughout, and delivered with a wonderful emphasis on the accents that feel as if they are natural in the onscreen world, The Northman is a film all about the visuals. The story is very simple, and the cast are all more than up to the tasks given to them, which allows Eggers plenty of time to indulge himself throughout the 137-minute runtime. This may well be his most beautiful film, and that is really saying something. The main narrative allows for a stark, almost monochromatic, visual style throughout, and there are set-pieces that play out like animated tableaux.
If you don't think Skarsgård can do this kind of role in his sleep then I would argue that you've never seen him in any of his other acting roles. He's superb, and absolutely brilliant in a role that makes excellent use of his presence, talent, and physicality. Kidman and Bang aren't quite as good, but that's mainly due to how the screenplay leaves them slightly underserved. Taylor-Joy is as good as always, however, and Dafoe does enough in a couple of scenes to steal the spotlight momentarily away from our leads. Eggers is the real star though, carrying viewers through the tale with a combination of his refined eye and the ability to pace everything perfectly.
It may be a mid-tier film when ranked alongside others from Eggers, but a mid-tier Eggers film is head and shoulders above many others. I look forward to rewatching this, being fully immersed in the world once again, and I am kicking myself for not having managed to see this when it was on the big screen, when I could have also had my entire body shaken by the score by Robin Carolan and Sebastian Gainsborough.
8/10
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