Melchior the Apothecary: The Ghost

This was just running around in circles like a dog chasing its own tail. There was some bark, but no bite. It's visually OK, even though there's a lot of CG around, but the plot just isn't evolving and the characters are very two-dimensional. It's difficult to relate to anyone of them. Also, the actors and director did nothing to make me care for any one of them.

Regarding the story line, it's very thin, often stretching the suspension of disbelief to the limits, but mostly just not interesting enough to get involved in all the shenanigans. Since it looks to have been an expensive project, better writers should have been involved. Also, could have been much shorter.

Apothecary Melchior continues solving a murder mystery again in his second movie. This time it is darker story and solution than in first one; and events happen fast one after another so don't expect classical mystery with multiple suspects and long conversations. I'd expected a bit slower speed.

Thumbs up for the environment of medieval Tallinn and memorable surroundings.

In the memory of Raivo Trass, Goswin was his last role.

"Apothecary Melchior: The Ghost," the second instalment in Elmo Nüganen's medieval crime trilogy, builds confidently on its predecessor, continuing the adventures of Melchior Wakenstede in 15th-century Tallinn. Though released with little fanfare compared to the first film, this chapter firmly establishes the trilogy's world - rich, atmospheric, and darkly immersive.

Once again, Melchior (Märten Metsaviir) finds himself unravelling a series of murders, this time set against an even grimmer backdrop. While the pacing is noticeably quicker - perhaps too brisk for fans of the classic whodunnit - the mystery remains engaging, if occasionally formulaic. Don't expect long interrogations or red herrings aplenty; instead, the film favours a more action-driven structure, with eerie settings and a palpable sense of dread leading the way.

A major strength lies in the lived-in world the filmmakers have created. Medieval Tallinn is presented not as a romanticized past, but as a gritty, visceral reality. Makeup design deserves special praise - grotesque, layered, and historically convincing, it adds to the film's authenticity and horror. Supporting performances, especially Alo Kõrve's comic Lord Judge Dorn and Maarja Johanna Mägi as Keterlyn, round out a cast that feels genuinely at home in this world.

There's an undeniable B-movie charm here - the kind that doesn't pretend to be more than it is, yet surprises with its craft. While some may question the intelligence of the supporting characters (medieval logic is... flexible), Melchior's deductive leaps still carry weight and wit.

If the first film set the scene, the second one deepens it. It's a rare Estonian production that feels serial by design, like a Baltic answer to British detective dramas - just with more corpses, fewer cups of tea. Fans will be eager for the third act. I know I will.