The Northman Movie Review

Director Robert Eggers has proven highly adept in bringing immersive visions to life on the big screen, combining sublime visuals and visceral story beats to land a major impact. His latest effort, The Northman, is another splendid showcase of his talents, striking true on every level.

Set in 895 AD, we’re placed into a world of steadfast beliefs and horrific bloodshed. The story opens with the young Amleth (Played by Oscar Novak and Alexander Skarsgård) who sees his life shattered with the murder of his father, King Aurvandill (Ethan Hawke). The orphaned heir vows revenge and after many years of fighting with other factions, he tracks down his uncle Fjölnir (Claes Bang) to kill him and free his mother Queen Gudrún (Nicole Kidman). The Northman has a more pronounced story than previous efforts; there’s a definitive protagonist we follow from start to finish and his quest is often one of self-discovery as well as violence. The bond that grows between Amleth and Olga of the Birch Forest (Anya Taylor-Joy) is a key element as the two work together to slaughter their enemies. Even the background elements work to develop the landscape, whether it’s a blood sport with slaves or praying to the Gods for a blessing before the characters charge into battle. It’s a powerful story that hardly wastes a minute on the way through, alternating between combat and character moments with no dip in pacing.

Filled to burst with thick accents and rasping war cries, The Northman makes no apologies for its primal performances. Alexander Skarsgård is very well suited to the lead role; his hefty physicality and lowered amount of dialogue makes him adept at surviving in this harsh environment. Yet it’s his cunning tactics and gradual realisations that will get you into Amleth as a character. He’s contrasted by Anya Taylor-Joy, who takes a more considered, underhanded approach to vengeance. The two bide their time, teasing out their foes before striking. Every character is animalistic in some way, driven by rage and power over others; this split between masters and prisoners is constantly on display. Some characters don’t have as much to do, most notably Ethan Hawke and Willem Defoe as a tribal shaman, but the smaller performances still convey a weighty and brutish display. Their wolf-like howls echo through the scenes, adding another layer to the film’s absorbing qualities.

Just like his previous films, Eggers and cinematographer Jarin Blaschke deliver another stunning collection of visuals. In The Northman it’s all about visions; hazy premonitions, prophecies and growling rituals. The production takes full advantage of these to immerse the audience completely. The camerawork moves fluidly between Valhalla and reality one moment and pans horizontally in longer takes the next. The blinding lights of the heavens are dazzling to behold and this is placed against the cruel deeds of the Nordic raiders. Watching them raid and burn an entire village is very unnerving to watch. Natural lighting is also used to great effect with internal campfires generating a gloomy and foreboding atmosphere. It’s an absolute feast for the eyes and the same weight carries through to the sound design. Robin Carolan and Sebastian Gainsborough have put together a roaring soundtrack that perfectly matches the scale of the production. The fight scenes are particularly gruesome with some sickening wounds that emphasise the brutality of the setting. By the time the climax arrives, the film has built to a tremendous set piece that will leave you breathless.

With its immense power and vicious carnage, The Northman is one of the best films of the year. Robert Eggers has once again crafted a superb release that grips you from the offset and delivers a rousing tale. It’s an awesome flick that demands the biggest screen possible.

Rating: 4.5/5 Stars (Brilliant)