Shadows infiltrate every corner of Robert Eggers’ Nosferatu. They threaten to swallow up every flickering candle, they contort Lily-Rose Depp’s wan face until she looks like a walking skeleton, and they reach their wispy fingers around every door to let in the ultimate Evil. The entire world looks like a deathly pall has been cast over it, with Eggers, with help from his Lighthouse cinematographer Jarin Blaschke, managing to make every frame feel either abominably dreary or full of unspeakable dread.

This is Eggers’ way of paying homage to one of the most famous purveyors of cinematic shadows, F.W. Murnau’s Nosferatu: A Symphony of Horror. The intoxicating new Gothic horror movie from the director of The Witch and The Lighthouse is a remake of Murnau’s 1922 masterpiece, the second after Werner Herzog’s 1979 remake starring Klaus Kinski and Isabelle Adjani. But still, the original was the defining vampire movie, giving us that indelible image of Max Schreck’s gnarled shadow creeping up a staircase, an image seared on our collective pop culture imagination. How could you possibly top it?

Eggers, like Herzog before him, doesn’t try to top the original Nosferatu, but simply updates the story in a different flavor — one that is more gruesome, more depraved, and more deliciously perverse than either of its predecessors. It’s destined to repulse and terrify its audience, and instill in us a new, primal fear in vampires that has been lost for far too long.

I was 7 years old when the PlayStation released in 1994, nurturing a growing love for video games. I wouldn’t get my hands on my own console for another few years, so I made due by spending every spare minute at a neighbor’s house trading blows in Tekken and handing off the controller between levels of Crash Bandicoot. I cringe to think about the poor parents of the kid whose friend wouldn’t leave but I simply could not get enough.

Now, 30 years later, it’s easy to look at games from that era as rudimentary or simplistic. But back then it was a challenge for my child’s mind to comprehend the technological leap between the SNES and Sony’s first effort at a dedicated video game console. Moving a character around in three dimensions? Unfathomable. And yet the evidence was there on our CRT TV, entrancing me with polygons instead of sprites, eight directions instead of four.

Of course, all the fancy hardware in the world means nothing if there isn’t any software to back it up; the real nostalgia comes from great games. Luckily the PlayStation was replete with titles that proved 3D gaming was more than just a gimmick.

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