Robert Eggers’ new film The Northman is a sweeping Viking tale that pays homage to Shakespeare’s Hamlet while taking the audience on its own bloody, magical, and merciless adventure. Set against the foreboding landscape of Iron Age Scandinavia, we follow exiled prince Amleth as he is reminded by fate to avenge his father’s death. Fully embracing the mythology and history of Viking lore The Northman takes viewers on a magnificent adventure.

As the film opens, King Aurvandil War-Raven (Ethan Hawke) is returning home after a long journey at sea. Queen Gudrun (Nicole Kidman) is awaiting his arrival along with young Prince Amleth (Oscar Novak). A feast is held in the king’s chambers and it is discussed that the king has yet to name a successor. Shortlty thereafter, during a walk through the forest Fjölnir the Brotherless (Claes Bang) abushes the king and his son. Young Amleth escapes and rows away on a small boat chanting to himself and the gods, “I will avenge you, Father! I will save you, Mother! I will kill you, Fjölnir!”

The story then picks up years later where an anguished Amleth (Alexander Skarsgård) has joined a clan of raiders. After raiding a particular village a strange force leads him to an encounter with a Seeress (Björk) who reminds him of his declared fate and his duty to his father. Quickly, Amleth disguises himself as a slave and heads back home in disguise to fulfill his destiny. On his journey he meets Olga of the Birch Forest (Anya Taylor-Joy) and the two form a bond, agreeing to help one another. Will Amleth find a the man that betrayed his father? Will he rescue his mother?

Fully embracing the mythology and history of Viking lore The Northman is another triumph for Eggers’ who again builds a tangible world wrought from a brutal past. Formed from earthen tones of wood, fire, iron and water this is a world of that looks and feels real. Director of Photography Jarin Blaschke captures the crashing waves against craggy shores in a way that convinces you that you can smell the ocean air and feel the wind on your face. Too there are some remarkably composed night shots that favor the vast starry night looking down on the poor mortals below. Another high note, pun partially intended, is the music composed by Robin Carolan and Sebastian Gainsborough. Thunderous drums and blasting horns powerfully express the pagentry and barbarity on display.

As far as the performances go, Skarsgård is one hell of a leading man. As if chisled from stone himself, the actor exudes a firey resolve to avenge. Taylor-Joy is another brightspot with her etheral yet grounded turn as Olga. Willem Dafoe pops in briefly, yet effectively as Heimir the Fool. The real feather in Eggers’ casting hat is the return of Björk to the screen as a blind witch that sets the course for our hero. Her scene is brief but effective and haunting.

At just over two hours fifteen minutes, this may be a hard sell for today’s short attention spans but it is a ravishing spectacle that could entertain even the most distracted viewer.

8 out of 10