Superman The Animated Series Supergirl Bust Reviews

It cost me about €6 and to make a gift to someone who likes the character or the DC comics I think it's a great option. It is a limited bust, of good quality, although the painting should have been a little more careful, however, as I say, quality / price, not so bad.

(OK) Opening themes and tradition, sex and blood and strange bonds, the empety boat arriving town with rats is unsupassed...

My favorite vampire movie of all time is "Let the Right One In." There are just so many layers of meaning in the film to find and enjoy. Although "Nosferatu" won't be stealing first place any time soon, it's still a decent and memorable piece of German Expressionist horror.

Radical for the time it was made, this silent era film pursues it's antagonist, Orlok (Max Schreck) like a waking nightmare. It's righteous hero, Hutter (Gustav von Wangenheim,) who reminded me of "Brain-Dead"'s Lionel, only gayer, seemingly has no chance against the supernatural forces that surround him.

Hutter is sent by his boss, Knock (Alexander Granach,) a rather repulsive old man, to go to bloodsucker Count Orlok's castle and have him sign a lease. Orlok, it seems, is looking to move in RIGHT NEXT DOOR TO HUTTER (a vampire in a residential area- isn't that lovely,) and Hutter, as an agent of Real Estate, is the man for the job.

Leaving his fair and lovely wife Ellen (Greta Schröder,) Hutter travels to the castle, only to get wrapped up in the horror of "Nosferatu," the horror that Count Orlok engulfs his victims in. Will Hutter get out alive? Will lovely Ellen become Orlok's next victim? Is the Count himself unstoppable?

I kept waiting for soft, girly Hutter to sack up and protect his innocent wife, but he never really stepped into action. Not to mention the eyeroller of a scene where Hutter tries to escape from Orlok's castle window with a rope, only to fall about half a foot and- you guessed it- knock himself clean out. With a husband like this, who needs girlfriends?

The make-up effects for this movie are very impressive, and the scary creation of Orlok bears little to no resemblance to his counterpart, Max Schreck. The makeup job on unsavory Knock was good too. To me, the scariest thing about, rat-toothed, bug eyed Orlok, ironically, was the way he held his arms straight at his sides when he walked.

It certainly made him seem less human! It is possible that a hug might make him loosen up, but I seriously doubt it. Well, Orlok was freaky, Konck was gross, Hutter was a sissy- Ellen was a typical boring '20s love interest, and the weakest of the four characters. As fragile as a feather, I expected her to faint dead away half the time, but admittedly. in the end she turned out to be a lot tougher than her lightweight husband.

Overall, Nosferatu is a well-shot and made horror film, with a few scares, and fine performances from the leads. It's not as strong character wise as "Let the Right One In," nor as psychologically astute (although for me it was hard not to see hints of homosexuality in Knock's character in the way he touched and interacted with Hutter,) and I think it is a tiny bit over-rated, but overall it is a entertaining piece of classic horror.

It's Indianastar Monsters Mash, Now we come to one of the most iconic monsters in the horror genre the Vampire but this no ordinary Vampire this is Count Dracula. but unable to get the book's right from Bram Stroker's widow, Director F.W. Murnau change the character's name to Orlok and the from a old mansion to a ship this movie is one of the most influential film in the horror genre. Is one of the most creepiest horror film in the last decades and as being as it is a silent film creepiness and atmosphere of this movies just builds these are images you don't forget the scene where Orlok walks up the stairs, the shadows on the walls the door there that fits Orlok body disturbingly they have been a part of horror for more to come and probably toward the end of time it like watching a nightmare.
In 2003 a film called Shadows of the Vampire was made showing how the crew filmed Nosferatu and F.W. Murnau hired a real vampire to play the part and who knows it could've been true.



-Stay tuned for Metropolis

Nosferatu is an unofficial silver-screen adaptation of Bram Stoker's classic, Dracula. Nosferatu also happens to be the No. 1 best horror film I've seen and all other horror films fail in comparison.

I've seen this film in both the black & white "ugly" version and the restored colour version with beautiful cyan and brown colours and the font style had also been changed. When I first saw it in the "ugly" version, It was enough to scare the living daylights out of anyone and this goes on to show how the 1922 horror is still better than all the movies we're getting today. When I saw it, I tried watching it from the 1922 audience's point of view and to modern eye, It might look cheesy and glitched but way back, when Dr. Caligari was the only decent horror movie around, Nosferatu must've had caused many heart attacks and sleepless nights.

Max Schreck as Nosferatu gave the most best performance of his decade and was miles ahead in terms of great acting. No performance has been this chilling, this horrifying. Only Bela Lugosi matches. After seeing the iconic shadow on the wall sequence, It opened up new levels of ideas for me and my imagination just ran wild after that, coming with new ideas here, new ideas there. It was chaos and is still the only horror movie to do that so.

It also made me crack my hands at very, very amateur filmmaking. The end result was the ill-fated "Mr. Rich". A short video, about 2-minutes, on how greediness can lead to disastrous results. So, you can say why I chose this film. It's so addictive and a legendary German Expressionism movie.

Horror at it's most finest, follows every page in the book and is a landmark classic movie!

Wow, man... It is almost a 100 years old... How awesome is that! It is black and white, it is silent and yet it is totally spellbinding. I wonder how many so-called horror fans have still to watch this masterpiece? Basically, it is simply the first and ultimate vampire flick, no more no less. In my opinion and a view shared by the gross majority of the film community, it is still an amazing feature and all the vampire flicks made after that became its legacy. On top of that, not only is it a great horror classic but it is also a fine example of German expressionism. Furthermore, who was this guy Max Schreck anyway?!? He gave here one of the weirdest performances you'll ever see but it totally worked (He was so convincing that there was even this legend is that Schreck's otherworldly performance as Nosferatu was due to the fact that he was in reality a vampire. Willem Dafoe portrayed him as such, playing the vampire Count Orlok in 'Shadow of the Vampire', another movie that you should absolutely watch). To conclude, it is a great classic and it is definitely worth a look, even a must see for horror fans in specific and movie lovers in general.

Nosferatu: eine Symphonie des Grauens is one of those horror films that most people will not at least try to watch because it is 'being too old and not scary enough' so-called. I mean, the older horror films are the scariest whereas most of the horror films out today don't feel half as scary and just feel over the top with violence! Nosferatu is the one horror film that just goes to show that horror and suspense comes out amazingly without hardly any violence involved at all. What was so special about this film was that despite it being a silent film and there wasn't any talking involved at all, it was just so scary and tense! Personally, I think the silence (besides the music) made the film even more terrifying.


Count Orloc moves from his ruined castle to the city of Wisborg, after the visit of one Jonathan Harker. Once there he becomes involved with Jonathan's fiancée Nina, who alone holds the power to destroy him. Max Schreck was absolutely AMAZING as Count Orlok! I would say he was almost as creepy as Anthony Hopkins as Dr. Hannibal Lecter. Orlok is actually a vampire but poses as a nobleman from the Carpathian Mountains who moves to Wiscom, Germany. He lives in a vast castle high in the mountains, which is badly neglected and has a highly sinister feel to it. Local townsfolk refuse to go anywhere near his castle. Orlok is visited by the film's protagonist, the young Thomas Hutter, the assistant of a Wisborg estate agent, who travels to his castle to show properties for sale in Wisborg. And from then on to the end, it becomes more suspenseful and terrifying than ever. What will the consequences be? What I loved about Schreck's performance in this film was that you only have to look at him to be terrified (like Hopkins in The Silence Of The Lambs). You know what the odd thing is? The Nosferatu character is on screen for only a bit less then 9 minutes out of the 84 minute duration. So that just goes to show that the character may not have appeared that much, it was still a terrifying piece of cinema.


F.W. Maurau has accomplished perhaps his best feature film and one of the best horror films of all time! Maurau gave the audience the option to just switch off the film but I feel and I am sure that many people thought that it was too gripping, tense and just too amazing to turn off! Filming commenced in August 1921 and it ended in October of that same year. Director F.W. Murnau found Max Schreck "strikingly ugly" in real life and decided the vampire makeup would suffice with just pointy ears and false teeth. There is one scene where there is very clearly a Hyena but in the film, it is a werewolf. The music was breathtaking as well. I would say that the music in silent films and old cartoon programmes (like Tom And Jerry) always have the best music within.


Overall, Nosferatu: eine Symphonie des Grauens is a terrifying, suspenseful classic that I loved from the start right until the very end! There aren't many films that terrify me now but this one certainly did (in a good way, if you get me). It has now become one of my favourite classics as well as one of my favourite horror/thrillers.

''Blood! Your precious blood!''

Vampire Count Orlok expresses interest in a new residence and real estate agent Hutter's wife. Silent classic based on the story "Dracula."

Max Schreck: Graf Orlok

Made in 1922, Nosferatu is the first big screen adaptation of Bram Stoker’s Dracula, and it is by far the best.
A free adaptation of the famous book, in the hands of director F.W. Murnau the film becomes a multi-dimensional and personal work that diverts from the original. This appropriation by Murnau explains why the title of the film is Nosferatu and not Dracula: Stoker’s widow saw the plagiarism of her husband’s work and brought court action against the production. Though she obtained the destruction of the film negatives, luckily some copies survived this destructive tempest.



Moreover, a beneficial name change preserved the reputation of Murnau’s vampire. While Dracula, the object of many mostly mediocre adaptations, sounds like a grotesque and overused cliche, Nosferatu still resonates with a certain terror. The film has guarded a certain troubling aura, and its only true remake, Werner Herzog’s Nosferatu the Vampyre, is a majestic tribute to its master. The possessed interpretations of Count Orlok by Max Shreck and later Klaus Kinski only reinforce the myth.
However, what many people ignore is the potency of the political message of the film. 1922 was at the height of hyperinflation in the Weimar Republic which ruled over Germany from 1919 to 1933. The public were used to frequent, violent political confrontation between factions on the extreme left and extreme right.
What we see in Nosferatu is a theme typical of early Weimar cinema: the omnipresent, omni-potent tyrant in the form of Nosferatu (also Caligari, Dr. Mabuse etc.). The tyrant comes from the east (it is unsure what this represents, though I would argue that, given the political situation and the recent communist uprising in Russia, it is the Bolshevists) and we see by comparing the first shot of a quiet, tranquil traditional German town and the last shot of a dilapidated, ruined castle, the progress from the bourgeois ideal into anarchy, chaos and destruction during the film.

''It will cost you sweat and tears, and perhaps... a little blood.''

The film shows that no-one was able to stop Nosferatu in his tracks before he arrived to ruin Wisborg, the town where the film is set. Only Ellen, by sacrificing herself and giving her life, can stop the tyrant. So soon after WWI, it is clear that such a sacrifice is not portrayed as desirable. The film removes Van Helsing, the policeman in the Dracula novel, from the plot, meaning that there is no strong force in traditional Germany; The power is held by Hutter, a middle-class estate agent. The middle classes in power at the time in Germany were the liberals of the Weimar Republic. Hutter is portrayed as weak, easily overcome and without much of a clue as to what's going on. This is clearly a call for a strong leader to fill the evident void in Germany, to come in and rescue society from the threat of being taken over by Bolshevism.
When we look at Murnau's later films, such as Dr. Mabuse, Der Spieler, it becomes clear that the right-wing (not Nazi) anti-authoritarian message of the film was not limited to this piece.

Nosferatu marks the transition between Romanticism and Expressionism. The affiliation of Murnau's work to the Romantic movement is evident. Themes like ambivalence (subjectivity and the unconscious, mystery and imagination) as well as the idea of a double, the ambiguous, Gothic, and the communion between the artist and nature are omnipresent in the film. The ambivalence principally affects the characters, from Orlok (count/vampire) to Knock (prominent/crazy) and Hutter (heterosexual husband/homosexual lover) as well as the parallel between the vampire and human worlds (in particular the use of the negative while the coach passes from the normal world to Orlok's). The unconscious, characterized by the Count's constant fear, materializes in nature when he is not onscreen.

For the Romantics, portraits, reflections, and shadows blend into a single entity. The shadow, particularly important (as in the scene as he climbs the stairs), anticipates an imminent danger, embodies a sexual desire, and always betrays the killer in German cinema. Gothic qualities are manifested in the physical characteristics of the vampire and in the architecture. Noseferatu’s bald oval head reflects the Gothic archways of his château, while his twisted body responds to the curves of the gate. His long nails symbolize the East’s despotism and correspond to the elongated lines of Gothic architecture. Finally, nature has a preponderant role, as important as a character. The stretches of land are the mental projections of the characters while the waves of the sea announce the imminent arrival of the count. The mountains have a supernatural side.

A visionary cinematic masterpiece, Nosferatu, is all the more topical as it shows the unequalled potential regarding cinema reduced to its most purified form and, by the same token, is the cruel report initiating the self-exhaustion that lies with modern cinema. If the end of the 90s marked the climax of commercial cinematic exploitation, the 21st century seems to be beginning with a uniquely purposeful horizon. Thus Nosferatu is definitely a timeless masterpiece which any film-maker or lover of film must see, the film which inspired many films and stories to follow.

''Is this your wife? What a lovely throat.''