The Telegraph by Tim Robey

Werner Herzog's classic vampire movie Nosferatu will scare the living daylights out of you.

Chicago Sun-Times by Roger Ebert

Nosferatu the Vampyre cannot be confined to the category of "horror film." It is about dread itself, and how easily the unwary can fall into evil.

The Guardian by Peter Bradshaw

This is Herzog's journey to the heart of darkness, a film that specifically echoes his earlier offerings The Enigma of Kaspar Hauser and his South American odyssey Aguirre, Wrath of God.

The A.V. Club by Nick Schager

With quiet, seething intensity, Kinski turns Dracula into a simultaneously sinister and sympathetic creature—one whose viciousness curdles the blood, even as his fanged ferocity comes across as merely a wounded-animal reaction to his eternal loneliness.

The A.V. Club by Keith Phipps

Herzog instills in his film a hypnotic, dreamlike quality. It may fail as a straightforward story, but its many other virtues allow this version of the Dracula tale to stand beside Murnau's Nosferatu, Tod Browning's Dracula, Hammer's The Horror Of Dracula, and the good bits of Francis Ford Coppola's Bram Stoker's Dracula as the best committed to film.

Los Angeles Times by Mark Olsen

No disrespect to Bela Lugosi, but Klaus Kinski delivers a mesmerizing performance as the original vampire in Werner Herzog's hypnotic adaptation of the horror classic. [16 Feb 2014, p.D1]

ReelViews by James Berardinelli

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

Slant Magazine by Chuck Bowen

Herzog’s idiosyncratic horror classic remains a vital conversation between two distinct generations of brilliant German filmmakers.

Chicago Tribune by Donald Liebenson

Released one year after John Carpenter's Halloween, Nosferatu was a last gasp for the elegant horror film. It is deliberately paced and virtually bloodless. A feeling of inexorable dread is vividly etched in images such as a skeletal cuckoo clock, an army of rats invading a village, and plague victims enjoying "what little time we have left" by drinking and dancing in the square.

Total Film by James Mottram

Madness and death hang over Herzog’s Wagner-scored vision like a black cloud, while Kinski adds much poignancy to Dracula, the lonely immortal.

TV Guide Magazine

Held together by the sheer power of Klaus Kinski's performance as the vampire, Nosferatu, the Vampyre evokes several scenes (practically shot-for-shot) from the Murnau classic while slightly altering some of the original's thematic structures.

Time Out

There are lovely moments – the Carpathian landscapes are stunning, Kinski’s performance is compellingly vile, and it ends with a stirringly weird, Fellini-esque plague festival. But some of Herzog’s choices are simply confounding: Isabelle Adjani has nothing to do except look pale and worried, Walter Ladengast’s Van Helsing is so decrepit as to border on pastiche, and there’s a grey, plodding quality to the film which sidesteps oppressive, doom-laden inevitability and goes straight to slightly dull.

Washington Post by Gary Arnold

Herzog has nothing of lasting value to offer the vampire tradition. His Nosferatu is at best unintentional, fitfully risible camp.

Chicago Reader by Dave Kehr

The acting is too eccentric and the narrative drive too weak to satisfy fans of the genre, but Herzog's admirers will find much in the film's animistic landscapes and clusters of visionary imagery.