The Northman

Perfect films don't exist, but while watching Robert Eggers’ The Northman, there's a sense that its story couldn't have been told any better.

The last time I felt that way about a film was a little over five years ago with Martin Scorsese’s Silence, and I sure didn’t expect that the next feature to similarly move me would come from the writer/director of The Lighthouse, one of my all-time least favorite movies.

But so it goes with the latest example of not letting an artist’s past work hamper one’s enjoyment of their future creations — in this case, an epic, extremely violent viking adventure rooted in the legend that inspired Hamlet and fortified by a consistent intensity stemming from a masterclass in tonal management.

The tale of young prince Amleth (Oscar Novak, fresh off playing young Bruce Wayne in The Batman) fleeing his Scandinavian kingdom after his uncle Fjölnir (Claes Bang, The Square) kills King Aurvandil War-Raven (Ethan Hawke, loving Big Beard life) and takes control of the monarchy quickly turns into a (the?) legendary revenge story when the lad swears to avenge his father and rescue his mother, Queen Gudrún (Nicole Kidman).

Driven by Eggers’ pristine visuals, shown off early and often in the all-too-brief exchanges between father and son — and fool/mystic Heimir (Willem Dafoe in peak gonzo form) — The Northman maintains its allure years later as adult Amleth (Alexander Skarsgård) leaves a mercenary life to fulfill his oath of vengeance.

Disguised as a slave, Amleth makes his way to Iceland for a face-off with his displaced uncle, and amidst the stunning scenery he aligns with fellow captive Olga of the Birch Forest (Anya Taylor-Joy, commanding in each scene) to plot his wrath. But while copious blood flows, his experiences are colored by the classic folklore doubt of assured missions undercut by revelations at the hand of perceived allies.

The deepened drama adds to an already rich narrative in which each primal scream and sword fight feels carefully calibrated, steadily building trust in Eggers as a filmmaker with a vision worth following. Unlike with The Lighthouse, he makes good on the promise he showed in The Witch and re-establishes himself as one of cinema’s most exciting new voices.

Grade: A. Rated R. Now playing at AMC River Hills 10, Carolina Cinemark, the Fine Arts Theatre, and Regal Biltmore Grande.

(Photo: Aidan Monaghan/Focus Features)