Sandwiched between the opening act of Bram Stoker’s Dracula where Jonathan Harker is imprisoned by the titular dark lord, and the events that unfold in London, there is a chapter centred on the transportation of the Count across the seas to Whitby. For four pages we read the account of this perilous trip courtesy of the captains’ log on the ship The Demeter.

For such a small amount in the novel, the diarised account would have a profound impact on the reader as the crew are picked off one by one before the ship finally reaches its destination, so it’s little wonder that it would draw inspiration in the celluloid artform. The concept holds a lot of promise, with the original narrative detailing a treacherous voyage with a crew of nine sailors, all prey for the beast that has boarded the ship. One can imagine a similar telling to Alien, where a confined space where there is nowhere to run other than to confront the demon can elevate the fears, driving a wedge between sanity and madness, thrusting the crew to fall deeply into the latter.

And so we embark on Director André Øvredal’s vision of this tale, who is no stranger to paranormal and twisted stories in a remote setting as The Autopsy of Jane Doe can attest to. Boasting a strong cast at its helm, leading with Corey Hawkins (Straight Outta Compton) as the trained doctor Clemens, marred in society because of the colour of his skin, bargaining his way on board the ship for the chance to return to his homeland; There’s Liam Cunningham (Game of Thrones) as the stoic captain; David Dastmalchian (The Boston Strangler) as the loyal-yet-disbelieving first mate, Wojchek; Jon Jon Briones (Ratched) as the cook and religious zealot; and Aisling Franciosi (The Nightingale) as the stowaway Anna, who has an intricate connection to the predator. But it is Woody Norman as the young cabin boy Toby who pivots the heart of the story and portrays a captivating character that belies his years.

As for the titular villain of the piece… his presence is always felt throughout the film but his impact is not as telling, nor confronting as one would have hoped for, despite some decent effects.

The Prognosis:

There is plenty of intrigue from a fairly untapped segment in one of Gothic literature’s finest tales, one that would pull me into the arena with willing anticipation. Yet, for all the talent on screen, there is surprisingly little in the way of building up the ambience and dread from someone as fearful as Dracula. So focused are the writers in embellishing the plot with background and character development, (some with the licence that creatives can afford to keep the audience captivated) that they neglect to draw out the fear and trepidation that the Prince of Darkness deserves. While the journey is still an enjoyable one, the course is easily traversed and never delves into the realms of immorality in order to stir the senses, or shake you to the core.

• Saul Muerte

Dracula: Voyage of the Demeter is currently screening in cinemas nationwide.