Nosferatu Unleashed in HD: Every Blu-ray Reviewed

  • Nosferatu (1922) is the earliest screen version of Dracula
  • It’s one of the most popular and recognisable of all silent films
  • Issued countless times on Betamax, VHS, LaserDisc and DVD
  • Count Orlok materialises once more on a clawful of Blu-ray discs
  • All are very different in terms of image, scores and extra features
  • For the first time, here’s a detailed breakdown and review of each one

This is one of a series of articles covering everything Graf Orlok and designed to be read sequentially. It details the film’s history, many different versions and home video releases, and I suggest you start with the first: Nosferatu: History and Home Video Guide. That is, unless you want to skip straight to the restored DVD and Blu-ray reviews.

There have been many great quality DVDs of the restored versions of this timeless vampire tale and for a long time, film fans thought it couldn’t get any better. But then Blu-ray (BD) came along and even for a worn, battered old journeyman like Count Orlok, audio and video quality shot up immensely. As of 2019, five very different BDs are available, but which is the best one to buy? The simple answer is… it’s a tie: there are three joint winners and one in close fourth place. Sadly there’s one also-ran, which barely gets off the starting blocks.

Nosferatu (1922) by Dustin Condie aka DCon, 2014

Count Orlok by Dustin Condie, 2014


Eureka/Masters of Cinema

Nosferatu (1922) UK Eureka-Masters of Cinema Blu-ray

  • 2006 restoration of film with Hans Erdmann score
  • Audio commentary by film historian David Kalat
  • Audio commentary by film historian R. Dixon Smith and critic Brad Stevens
  • The Language of Shadows: Friedrich Wilhelm Murnau and His Films (1996–1998/2007) documentary (52:34)
  • Interview with filmmaker Abel Ferrara (12:18)
  • Interview with BFI Classics: Nosferatu author Kevin Jackson (19:41)
  • 56-page booklet featuring essays and photos
  • Original German intertitles with optional English subtitles
  • Soundtrack: DTS-HD Master Audio 5.1 and LPCM 2.0 stereo

Amazon | BD/DVD set w/steelbook case

Spain: Divisa

Nosferatu (1922) Spanish Divisa Blu-ray

  • 2006 restoration of film with Hans Erdmann score
  • El lenguaje de las sombras: Primeros años y Nosferatu (The Language of Shadows: First Years and Nosferatu, 1996–1998/2007) (53min)
  • El lenguaje de las sombras: Murnau: Las primeras películas (Murnau: The First Films, 1996–1998/2007) (31min)
  • Los vampiros (The Vampires)
  • Anécdotas del rodaje (Anecdotes of filming)
  • La novela de Bram Stoker (Bram Stoker’s novel)
  • El verdadero Conde Drácula (The Real Count Dracula)
  • Galerías (Galleries)
  • Filmografías (Filmographies)
  • Fichas (Sheets/notes)
  • Original German intertitles with optional Spanish and Portuguese subtitles – non-English friendly
  • Soundtrack: DTS-HD Master Audio 5.1 and LPCM 2.0 stereo
  • BD/DVD dual format set

 Amazon | 2018 reissue


Nosferatu (1922) UK BFI Blu-ray

  • Photoplay version of 1995 restoration with James Bernard score
  • Christopher Frayling on Nosferatu (2001) featurette (24:08)
  • Le Vampire (1945) short directed by Jean Painlevé, with a new score by Saint Etienne’s Pete Wiggs (8:27)
  • The Mistletoe Bough (1904) short directed by Percy Stow (8:20)
  • Stills gallery (2:24)
  • 36-page booklet featuring essays and photos
  • New English intertitles
  • Soundtrack: DTS-HD Master Audio 5.1 and LPCM 2.0 stereo

 AmazonBFI Player

Germany: Universum Film

Nosferatu (1922) German Universum Film Blu-ray

  • 2006 restoration of film with Hans Erdmann score
  • The Language of Shadows: Friedrich Wilhelm Murnau and His Films (1996–1998/2007) documentary (52:37)
  • 8mm version of Nosferatu with music by Lucía Martínez (27:50)
  • BD-ROM section with promotional materials and texts by Albin Grau
  • Trailers: The Blue Angel (1930), M (1931), La Dolce Vita (1960), Midnight Lace (1960) and Double Indemnity (1944)
  • 20-page booklet
  • Original German intertitles
  • Soundtrack: DTS-HD Master Audio 5.1

Also in the 5-BD Deutsche Filmklassiker Weimarer Kino 1920–1931 box set


US: Kino

Nosferatu (1922) US Kino Blu-ray

Don’t even consider buying it!

  • 2006 restoration of film with Hans Erdmann score and new English intertitles
  • The Language of Shadows: Friedrich Wilhelm Murnau and His Films (1996–1998/2007) documentary (52:46)
  • Clips from Murnau’s films Journey into the Night (1921), The Haunted Castle (1921), Phantom (1922), The Finances of the Grand Duke (1924), The Last Laugh (1924), Tartuffe (1925), Faust (1926) and Tabu (1931)
  • New trailer (0:59)
  • Stills gallery (16 pages)
  • Second disc with same version of film as above but with original German intertitles and optional English subtitles
  • Soundtrack: DTS-HD Master Audio 5.1 and Dolby Digital 2.0 stereo

Listed for illustration only – do not buy this disc, for reasons explained below. If you’re in a BD region A country and can’t play any of the region B discs above, the best DVD equivalents are this particular region 1 Kino and region 2 Eureka. Note with those too, the latter is superior.

Review and Summary

Firstly, note that as of May 2019 there are no official BDs emanating from France or Italy. A couple of leading pirate companies, from Italy, Studio 4K and Ermitage Cinema, previously threatened their own illicit versions but thankfully both failed to materialise. Another BD (and DVD) from Zima in Mexico is of very shaky provenance. These scans indicate that Zima have, perhaps unwittingly, “licensed” the Kino BD transfer, artwork and image gallery from French scam artists Films sans Frontières. Whatever format you’re looking for, do not buy it if it isn’t on this list.

The race between the five official releases is a three-way tie between the UK Eureka/Masters of Cinema and Spanish Divisa on one hand and the UK BFI (British Film Institute ) on the other. Germany’s Universum Film edition comes hot on their heels, with Mexico’s Zima behind that, but as for the US Kino: oh dear. It should be given a wide berth but more about that later. All BDs feature two distinct restorations: the BFI uniquely features the 1995 restoration, as opposed to the others’ more recent 2006 restoration, but the former is by no means inferior. Both draw from the same batch of surviving prints and are equally complete; they are best thought of as co-existing alternate versions. The four Euro editions are all coded for region B, so if you’re unable to play them it’s another good reason to get a region free set-up. As with its many scores, there have been a multitude of differing extra features on various Nosferatu releases over the years. Most of the best ones are shared between these four.

Nosferatu (1922) UK Eureka-Masters of Cinema Blu-ray, Orlok on carriage

Nosferatu (1922) UK Eureka-Masters of Cinema BD with its ubiquitous greenish night-time tinting. Hmm…

Clearly the Eureka and Divisa BDs vault ahead on extras, but the BFI has a respectable amount too and anyone buying it should be more than satisfied. It’s minted from a brand new 2K scan supervised by Photoplay’s Patrick Stanbury, who originally worked on the film two decades ago, and BFI producer Douglas Weir. Adding two shorts and a stills gallery over their earlier DVD, it omits some now redundant text-based extras. This is due to the added bonus of the glossy 36-page booklet containing two highly readable articles: David Kalat on Nosferatu’s history and Brian J. Robb covering its occult origins. It’s rounded off with a couple of pages by James Bernard on his brilliant score.

Meanwhile, Eureka’s 2013 BD and DVD mark the fourth separate occasion they’ve released this film. This time around they’ve gained an excellent Kalat commentary and two interviews over their most recent 2007 DVD set. Conversely, the booklet from that incarnation – complete with ridiculously small font that will be unreadable to many – is now slimmed down from 80 to 56 pages, dropping the No End to Nosferatu essay by Thomas Elsaesser. Don’t worry, you’re not missing much: he’s given to scholarly theorising and tedious over-analysis, with academic speak a-plenty. He also wrote a similar treatise for Sight and Sound magazine in 2001. Another essay remains by Gilberto Perez; with that too, its dryness is matched only by its length. More pretentious waffle comes courtesy of The Bridge by Craig Keller, which thankfully limits itself to just under two pages. I’ve little time for extras like this; for those wishing to learn about the film itself, they’re next to useless. Ultimately they tell you more about the way the author’s mind works than anything else. If this sort of thing really quickens your blood, I suggest you join and knock yourself with hundreds of similar dissertations.

Faring much better than all that posturing piffle is a fascinating, though likely fanciful, piece on Nosferatu‘s origin by its principal creator, Albin Grau, first penned for the film’s première programme. Last up is a very insightful 1995 essay by Enno Patalas on his earlier restorations. Although packed with information, it doesn’t pertain in any way to the restoration actually on the disc; ironically it concerns the restoration on the BFI BD. Eureka obviously managed to nab it first, for inclusion on their 2007 DVD, but they really should have left it alone for more appropriate inclusion elsewhere – like on the 1995 restoration releases. Never mind: you can read my corrected, annotated version here. Also gone from the Eureka BD is a fairly inconsequential 3min restoration featurette, but if you’re curious it can be viewed in low quality here.

Nosferatu (1922) UK Eureka-Masters of Cinema Blu-ray, Orlok reading letter

Eureka/Masters of Cinema BD, with perfect night-time interior amber tinting.

I’m not alone in eschewing endless analysis: brilliant early C20th sculptor Constantin Brâncuși had no time for pretentious prattle and theorising either. His work was labelled as abstract and fawned over by critics, but he pronounced, “There are idiots who define my work as abstract; yet what they call abstract is what is most realistic.” He also provided my favourite art-related quote: “Don’t look for obscure formulas or mystery in my work. It is pure joy that I offer you.”

Of course, I’m not (quite) a complete philistine: part of the innate beauty of this film and a large reason for its enduring popularity is that it is so open to multiple interpretations. But you can only go so far. For instance, I concur with this extracted Amazon review (spoiler alert):

Nosferatu is a classic because a perceptive viewer can see so many themes in it. Is it a movie about sexuality, Weimar politics, or a foreshadowing of the National Socialists? I’d like to promote a view of the movie I haven’t seen yet (although it may be out there somewhere). I couldn’t help but see a lot of potential anti-Semitic themes playing out in the movie. Orlok’s physical presence resembles in no small way the depictions of Jews that often appeared in Germany even before the Third Reich rose to power. Associating the count with rats and plague is similar to how the Jews were portrayed in notorious anti-Semitic propaganda. I think, too, that the encrypted letter the count sent to Knock underscored what many Germans thought about Jews, that they communicated in esoteric languages and practiced a strange religion. Orlok, when he arrives in Germany, is an outsider, a dangerous foreigner seeking to kill and corrupt the good German people. Again, the Jews were always seen as outsiders with a hidden hostility to gentiles. The conclusion of the film only confirmed this thesis in my eyes, when a pure German woman using her wiles managed to defeat the evil count. Germans always worried about Jews marrying their women, so the idea that a girl could not only withstand the advances of the count but also use his lust to destroy him must have resonated deeply with certain segments of the audience. I could go on and on, matching certain scenes with how many Germans perceived the Jews.
I hope the film isn’t anti-Semitic. But as a horror film, it is unmatched.”

Nosferatu (1922) UK BFI Blu-ray, Wolfgang Heinz (L) as first mate and Max Nemitz as the captain

BFI BD. “We’re all doomed!” Wolfgang Heinz (L) as first mate and Max Nemitz as the captain. Pink tinting for dusk.

Perhaps Eureka’s most significant extra, which accompanies every BD and DVD release of the 2006 restoration, is Luciano Berriatúa’s The Language of Shadows documentary (52:37). It’s very informative but seems quite oddly structured, concerning itself with Murnau’s early years right up to and including the filming of Nosferatu – and that’s it. This is because it’s actually part of a series of Language of Shadows documentaries covering the whole of Murnau’s life, which weigh in at a hefty total of 240min. They were originally titled El lenguaje de las sombras (1996–1998, despite some sources claiming 1995) and were written and directed by Berriatúa for Televisión Española, Madrid. The Friedrich-Wilhelm-Murnau-Stiftung (FWMS) acquired the rights to the Spanish language originals, dubbed them into German, carved them up fairly crudely and slapped a new copyright date of 2007 on the resultant fragments. Now collectively retitled Die Sprache der Schatten, these vary widely in length from 6–54min and their inclusion as extras is compulsory on all FWMS-approved releases of Murnau’s films worldwide. The majority of the series remains unreleased and some of it is inevitably dated, especially as so many of Murnau’s films have been restored over the last couple of decades. However, it’s a terrible shame, resorting to dismembering this impressive beast and releasing it in such a piecemeal, haphazard fashion. An added irony is that even the Spanish releases including it now have chopped-up, German-dubbed, Spanish-subtitled scraps of a documentary that was made in Spanish in the first place. Hardly the best advert for preservation of original versions of works of art, is it?

Once again, the BFI BD features Nosferatu‘s excellent 1995 restoration, while the other four feature the latest (though not always superior) 2006 digital restoration; both are similarly complete. The BFI 1995 restoration has more visible damage and is often darker with fewer shadow details, but this actually works in the film’s favour: its grittiness adds to the atmosphere, while the shadows often lend a pleasing chiaroscuro-like effect. It also has a more consistent image quality throughout and because of having had less digital manipulation it often retains added detail and grain. In short, subjectively speaking, it simply looks more ‘authentic’. The 2006 restoration is very good but can occasionally have a tendency to look almost too clean and somewhat digitised. It’s stunning to watch but can seem at times more like a beautiful moving painting than a film with pretensions to gnarly horror. It’ll never happen, but if by chance a pristine copy of the film was ever discovered, I’d be first in line for its première. But having said that, Orlok’s had a hell of a journey and earned the right to wear his battle scars with pride.

Regarding their respective colour schemes, though they both use the same tinted original print for reference, for technical reasons they vary greatly. Silent film tints are primarily used to denote the time of day and setting of individual scenes. Neither restoration is more ‘accurate’ than the other, but the 2006’s distinctive creamy palette takes a little getting used to. It also employs a too-deep amber for daytime scenes, which makes them look like the similarly-tinted night-time interiors. A brighter yellow for daytime, as commonly seen in silents of the period, would be far preferable and less confusing. Particularly jarring is its choice of a greenish shade, usually used to indicate intrigue or suspense, for all of the night scenes. There are a lot of them and here the 1995’s vivid – and more usual – dark blue is particularly missed.

Greta Schröder in Nosferatu (1922) UK BFI Blu-ray

Greta Schröder, acting her gothy socks off. BFI BD.

The FWMS, who control the 2006 restoration, make it a condition of licensing that all home video releases only carry their version of the original Hans Erdmann score. They’re buggers for pulling stunts like this and ultimately it’s always the fans who miss out. For instance, back in 2010 the Alloy Orchestra were commisioned by Kino to provide an additional score for the US release of the fully restored Metropolis (1927). Alloy’s 2½hr score was duly written, recorded and mastered at great time and expense, only for the FWMS to tell Kino no dice. It was to have their Gottfried Huppertz score only or Kino couldn’t use their restoration. There are many other similar examples I could cite; in this regard the FWMS really need to sort themselves out. Incidentally, Alloy’s superlative – and superior – score, which they’ve been touring to international acclaim for the past three decades, can be had here. It will synch perfectly to any Complete Metropolis BDs, digital versions (UK) and NTSC DVDs, including the US Kino and UK Eureka.

The aforementioned Spanish/German Nosferatu documentary almost invariably comes as part of any FWMS package too. While the Eureka/FWMS accompaniment is very good, for my money it’s no match for the BFI’s far more effective James Bernard score, also newly remixed in 5.1 surround. The former, while a beautiful listening experience, from the outset often fails to invoke the requisite sense of dread, frequently seeming more suited to pastoral, fairy tale-like imagery. At key moments, when it needs to go hard and really thunder, it inexplicably goes limp. But apparently, it works better if you think of the film as a comedy! With Bernard though, right from the dramatic, suspenseful opening credits you know you’re in a safe pair of hands. Bernard really delivers and makes Nosferatu actually feel like a horror film. Advantage BFI.

Personally, I’m happy to own both and as with silent film releases that offer a choice of soundtrack options on the same disc, alternate between them on repeated viewings. The bottom line is that when it comes to extras related to the actual film, the Eureka takes the prize, though the BFI acquits itself very admirably overall. However, the Eureka repeatedly leans towards looking and sounding like a beautiful work of art, whereas the BFI more successfully imparts an impression of moody malevolence throughout. If screening Nosferatu with a pre-recorded soundtrack for others, especially non-silent film aficionados, I’d pick the BFI every time.

Nosferatu (1922) UK BFI Blu-ray, Orlok stalks the ship

BFI BD with blue night-time tinting. Nice.

The Divisa edition’s mostly unique extras are in Spanish, except for two German-language documentaries, and it has no English subtitles. The bulk of the extras are housed on a second disc, carried over from their 2-DVD set. Unfortunately I speak little Spanish so can’t go into great detail about those. I can confirm though that the other, more English-friendly releases I have of theirs are uniformly excellent. On the whole, Divisa are a near equivalent to Eureka or the BFI and can always be relied on to produce among the best releases possible.

Fourth place goes to the German Universum Film edition. In addition to The Language of Shadows and a 20-page booklet, it has an extensive text and image gallery. Another significant and unique extra is an 8mm cut-down ‘show at home‘ print of Nosferatu (27:50). This gives an idea of the only way a relative few collectors got to experience the film at all before the home video revolution. Even then they would have been missing a decent score; here one is newly provided by Spanish percussionist Lucía Martínez. These days, such condensations are little more than an interesting curio, but their inclusion is quite common on German releases of classic films. Note that this disc’s contents are completely in German and it has keine Untertitel.

Lagging behind in distant last place is the US region A Kino, with its only noteworthy extras being the documentary and a 16-page stills gallery. Instead, what it does have is a totally unnecessary second disc with another copy of the film. From the very start, Kino have had a habit of replacing any original foreign language intertitles with modern English ones. Here, their new English version is on the first disc, along with the extras, while the original German version is relegated to a second disc by itself. I know what you’re thinking: “Hey, at least they deserve some credit for including the original version for once, right?” Wrong: the German transfer is slightly cropped on the sides, but more importantly is badly compromised elsewhere – but I’ll get to that. The English version, meanwhile, is softer, with less detail, and zoomed in, so is heavily cropped on all four sides. What’s more, via seamless branching, both language versions could easily have been incorporated on a single disc. Incidentally, we can give a pass for translated and replaced intertitles on pre-2006 silents releases: such versions produced a couple of decades ago were for a marketplace far less accustomed to silents, let alone foreign language ones. In addition, subtitles were less accessible on home video in the pre-DVD era. Nowadays it’s generally agreed that original is best – with subtitles if necessary. Kino is the only label I know of that not only still practises their replacement but actually makes it a blanket policy. There are some exceptions to this, as of late there have been several unaltered, originally-titled releases from them, but generally they keep reverting to form. UPDATE: as of 2018, Kino appear to have finally abandoned this practice entirely.

Nosferatu (1922) UK Eureka-Masters of Cinema Blu-ray, Salzspeicher (salt warehouses)

Eureka/Masters of Cinema BD. Its amber daylight tinting is too dark by half, but do enlarge it to see the great detail in the salt warehouses’ bricks!

Sadly Kino didn’t stop there: they actually mucked up both their transfers more profoundly. I’m going to have to get a little bit technical here but bear with me. Sound film and 1080p BDs basically run at 24 frames per second (fps) and most silent films run between 16–22fps. Nosferatu’s optimum frame rate is 18fps, so to slow it down Eureka simply repeated/doubled every third frame, giving a pattern or ‘pulldown’ like this: 112 112 112. Easy, right? In motion, this formula is undetectable to most people. Now, for reasons known only to themselves, Kino often transfer their silent films to disc using some highly illogical methods. In the case of Nosferatu the pulldown is 12121231, 12121231. So you see, they repeated every other frame twice, then the seventh frame three times. Huh? As if that wasn’t enough, to make the resulting mess still fit into 24fps, they’ve then eliminated every eighth frame. This results in the complete loss of over 11% of Nosferatu’s frames. The outcome is that visible motion jitter, a juddery, stutter-like effect, is introduced throughout and a goodly chunk of the actual film is gone. The restorer’s job wholly undone. To look at it another way, the Kino is cut, throughout its length, and the Eureka is uncut. If we rejigged the Kino transfer to match the Eureka’s pulldown, it would run shorter by about 10 minutes. No thanks. Who in hell mastered this aberration? All in all, it’s an absolutely pathetic effort and total rip-off.

Many people, unaware of this issue, will just see a picture that on the whole has more resolution than a DVD and, lacking a superior comparison, just accept the jerkiness as being part of the ‘silent film experience’. NO! Such thinking is akin to the dark decades following the silent era, when those expertly made films were rubbished as being uniformly amateurish, sped up, scratched, choppy cinematic daubings. That was before these more enlightened times of restoration and proper presentation. On the bright side, one thing the Kino does well is demonstrate how films came to be termed ‘flickers’: it’s akin to watching a flick book version of Nosferatu. In fact, that’s about the only thing it does well.

To see just how herky-jerky the Kino looks, check out this B&W retooled version of their English transfer.

Nosferatu (1922) UK Eureka-Masters of Cinema Blu-ray, Orlok's death

Eureka/Masters of Cinema BD; Orlok gets his. Pinkish tinting for dawn.

I’d advise you to avoid the Kino travesty altogether and, if you already have it, stick to their earlier 2007 DVD. Do note that too, has its own set of problems, as with all Kino DVDs and their SD extras that are struck from European PAL masters. Also beware Kino’s corresponding 2013 DVD: it’s culled from the same master as its HD counterpart and is equally disastrous. Again, your best option is to go region free and import one of the Euro BDs. If you’re after the 2006 restoration and have region free DVD playback, at least get Eureka’s superior 2-DVD set (2013); their third. It’s region 2 coded but unlike both their earlier ones is in the NTSC format, so fully playable in the US and Canada. The only Kino DVD really worth owning so far is their first (2002), featuring the 1995 restoration. Like Eureka, Kino have issued Orlok’s odyssey in several distinct editions but unlike Eureka, each one is worse than the last. Nosferatu is a flagship of Kino’s frequently brilliant silent film roster and surely one of their their best selling titles in that category; incredible to think they could treat it like this. I’m a strong advocate of always choosing the best quality restored, authorised releases but sometimes – thankfully very rarely – even they can be screwed up. Kino’s lacklustre effort gets my vote for the worst ‘official’ silent film BD and DVD to date.

The final verdict is that of the five restored, officially sanctioned BDs available, the only four worth your time and money are all region B coded. Go region free! Out of the 2006 restoration BDs, I’ll give Eureka the nudge on image, as close inspection shows they’ve performed additional work on their master to minimise the effects of dirt and scratches.

Hmm… it occurs to me that as neither the 1995 nor 2006 restoration is perfect, my ideal BD would be a variorum, with an image, editing and tinting that combined the best of the two. Music would be courtesy of James Bernard’s score and both versions of Hans Erdmann’s original. Via seamless branching it would have both restorations’ two sets of original/partially recreated German intertitles, as well as Photoplay’s new English ones. For completeness’ sake it could include the latest set of new English intertitles too, as found on the Kino BD and Australian Madman 2-DVD set… Well, I can dream, can’t I?

The great news is there’s no denying that any of these BDs, bar the Kino of course, will allow you to see and hear Nosferatu in the best quality possible and certainly far better than anyone’s experienced since the 1920s. I’m sure Count Orlok would be grimly pleased to know that though currently indisposed, he continues to seduce so many fresh, willing victims, all eager to fall under his deathless spell.

Nosferatu (1922) poster by Ken Taylor, 2014

Nosferatu (1922) poster by Ken Taylor, 2014

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Facebook: The Nosferatu Society | in-depth BD/DVD details: DVDCompare


  1. Tom
    May 19, 19:28 Reply
    i recently attempted to watch kino, but i found the music apallingly horrid. the flute accompanying the stage coach as approaching orlocks castle seemed to want to create a comic effect. it was a travesty. are there any versions that feature music composed by someone who doesn't think its necessary to create scene specific tunes for every scene. give me back dvorak's from the new world as public domain generic score that was on tv the first time i saw this film many years ago.
    • Brent Reid
      June 09, 18:18 Reply
      I agree: Heller’s reconstructed score is quite inappropriate in parts, hence my favouring the BFI disc overall. You'll find a lengthy list of great scores and DVDs in my <a href="">dedicated article</a>... or you could just turn the volume down and play some Dvořák over the film!
  2. GARY
    August 27, 23:45 Reply
    Great article. I actually came across this article because I have been trying for a while now to see if I have the only version of Nosferatu on bluray with image instability. I owned the Eureka DVD which I loved and was really looking forward to the bluray release from them. As much as I wanted to like it I was left really disappointed. I know the new grain visible is due to the restoration in HD and I have to put up with it if it means more detail, but I seem to be the only person who has an issue with the image juddering a lot when the original Eureka was stable from start to finish. Please tell me I'm not mad and that someone else has noticed this? I actually feel like I want to stick with my DVD as with perfect stability it really makes it look timeless. The new bluray just seems like a really old juddery movie.
    • Brent Reid
      October 28, 06:54 Reply
      I assume you mean <a href="">Eureka's 2007 DVD</a>? If so I no longer have it to compare, but perhaps someone who does can help?

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