Solemplex To me, this movie is perfection.

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

unbrokenmetal A vampire hunter (Christopher Plummer) goes to Venice where the infamous vampire Nosferatu (Klaus Kinski) was last seen 2 centuries ago, and soon Old Two Teeth starts biting necks again, as old habits die hard. Traditional methods like sunlight or the sign of the cross do not scare Nosferatu, but it is said the love of a virgin might be dangerous to him, is any of the ladies interested? It's not a good movie, it's not a bad movie, it simply is a pile of various bits and pieces, ranging from genius to rubbish. After several directors were fired, producer Caminito finished the movie somehow - I imagine it must have been a case of "it's better to make a painful break than draw out the agony". Venice, however, is a perfect setting for a vampire movie with its ancient, dark, decaying buildings. The warm, colorful carnival scenes provide stark contrast for the cold blue light of the early morning chases when Nosferatu is looking for victims. Unfortunately, when the tension is rising, often something ridiculous happens, for example the attempt to shoot the vampire with a shotgun (results in a cannonball hole to see through) which will immediately destroy the efforts. It's too clumsy to appeal to an art movie audience (who may have enjoyed Herzog's Nosferatu) and too confusing to be Saturday night fun for horror flick fans. Under the circumstances of its production, it's no surprise that 'Nosferatu a Venezia' failed, but I admit it is at least an interesting failure which is not just another vampire movie.I watched the Italian language DVD which has no subtitles in other languages.

t_atzmueller Klaus Kinski was an exceptional actor who had the rare gift that he could turn a mediocre, even bad movie, through his sheer presence into a spectacle. His often very short but poignant performances in various B- and Thrash-movies are evidence enough.However, according to director Werner Herzog, during the shooting of the final scene of "Cobra Verde", Kinski muttered something along the line of 'I'm spent. I'm empty. I'm not there anymore'. Surely, the great actor would pass away a few years later, but not before starring in a number of films that would only confirm that statement. Kinskis own "Paganini" and "Nosferatu in Venice" would stand testament to that.Don't be fooled by the title. Werner Herzogs "Nosferatu" and "Nosferatu in Venice" have only one thing in common: Klaus Kinski playing a vampire. Don't expect any of Herzogs magic; Kinski is decades away from the majestic portrayal of a melancholic Count Dracula. Rather, Kinski was already immersed in his role as Paganini, which he had been virtually obsessed with. His Vampire in Venice is Paganini with fangs, a sexual satyr for who blood and copulation is synonym. Of course, analyzing the vampire mythology, this is technically not incorrect, but given Kinskis own (often proclaimed) hyper-sexuality, it makes the film seem sleazy and the viewer feeling like a voyeur.That is not to say that the movie is without atmosphere. Venice and its lagoons lend themselves perfectly well for a dark, mystic vampire melodrama and the soundtrack is excellent, only adding to its charm. But why call it "Nosferatu"? (Don't bother answering, it's a rhetoric question).Hence, this is one of the rare Kinski films where the actor doesn't enrich the picture but his participation is actually the main flaw.Still, the last 10 years haven't been kind to fans of vampire films; unless you're not through puberty, it's unlike you be able to enjoy the modern "Twighlight"-vampires and in the light of that, "Nosferatu in Venice" is an acceptable, though flawed and often disjointed, Gothic horror-story. 6 points from 10.

Woodyanders Late, great wacko fruitbag iconoclastic actor Klaus Kinski gives a marvelously threatening, overwhelming, terrifyingly bestial and sometimes even strangely touching performance as Nosferatu, an evil, indestructible, all-powerful vampire who preys upon an affluent aristocratic family in Venice, Italy during the bleak, hopeless, fear-ridden time of the Black Death. Dedicated dying vampire hunter Christopher Plummer and pious, self-righteous priest Donald Pleasence make a futile and foolhardy stand against the foul, parasitic, yet anguished subhuman creature of darkness.Under Augusto Caminito's able, stately, subdued direction "Nosferatu in Venice" bravely explores mankind's stark fear of and inability to accept his own mortality as well as man's profound, but impractical desire to somehow transcend said mortality. But as the eternally tormented Nosferatu proves immortality can be more of a burden than a blessing, because he and all others like himself are perpetually cursed to endure the suffering of countless mortal others. Tonino Nardi's beauteous, misty, breathtaking cinematography and Luigi Ceccarelli's wondrous, elegant, potent orchestral score prodigiously contribute to the considerable substance of this frighteningly (and, yes, even fascinatingly) morbid, oddly affecting, soulful beauty of a film. The movie's unflinchingly desolate, flesh-crawling, funereal ambiance, relaxed, lulling pace, pervasively nonchalant air of insurmountable nihilism, and somewhat disjointed narrative isn't for every taste, but viewers who are willing to accept this disturbing, challenging, gripping and powerful feature on its own macabre and twisted terms should find it to be very rewarding. Kinski's forceful and singularly wicked presence alone distinguishes this picture as an extraordinary work; few other actors can even begin to convey the same harrowingly tangible sense of extreme unbreakable demonic menace that Kinski effortlessly exuded. A gallant, tough-minded, thematically rich and grotesquely lovely addition to the vampire horror genre.

cannee This has it all. Klaus Kinski playing Nosferatu. A perfect match of this tortured magnetic egotistical actor who had imaginings of being something far greater: he toured for a time proclaiming himself as Jesus; albeit a rather more angry and vituperate Jesus. Kinski had played the role before in A Herzog film. So the experience alone should assure success. This Nosferatu is more glamorous and set in a decayed cosmopolitan Venice. For the audience a clue that things were going to go seriously wrong as they sat in the cinema was the appearance of more than one director. This always heralds serious problems in production. It starts promisingly a Gypsy camp summons up Nosferatu as their benefactor. Then he is off to Venice to avenge the royal family that have tried to destroy him. Here the narrative starts going awry and long periods of soft focus camera panning accompanied by string quartets show th holes left in the scripts due to arguments. The film tries to find its focus again by giving Nosferatu a love interest in the shapely black actress Maria. But its too late and too little point. Assuming that the intention is to see Nosferatus demise, the audience would already be asleep to see the interesting climax, which I am not going to reveal. You have to track it down and stay awake to the end