Dracula Review – Besson’s Love-Struck Revamp of the Timeless Gothic Tale is Outlandish but Entertaining

It’s possible interest is limited for a new version of Dracula from Luc Besson, the filmmaker known for stylish excess. And yet, one must admit: his opulently crafted vampire romance boasts bold vision and flair – and with its B-movie charm, I might just favor compared with Eggers’s dignified recent take of Nosferatu. There are some very bizarre touches, like a particular moment that looks like it presents a territorial boundary between France and Romania.

Christoph Waltz as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz embodies a clever but beleaguered cleric fighting vampires – it feels natural for him to tackle this character previously – who ends up in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the malevolent vampire count, brought to life by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone similar to Steve Carell’s Gru of the Despicable Me series. This character suits him perfectly.

The Narrative: A Saga of Heartbreak

Here’s the premise: the vampire lord has wandered endlessly the earth in torment for hundreds of years after his transformation into a vampire, a penalty due to his blasphemous mourning after the passing of his spouse Elisabeta (a movie debut role for Zoë Bleu, daughter of Rosanna Arquette). the vampire has looked tirelessly for a female who would be the return of his departed beloved. Unfortunately, the chosen woman turns out to be Mina (portrayed once more by Bleu), the demure fiancee of the count’s timid estate manager, Jonathan Harker (enacted by Ewens Abid), who just traveled to the vampire’s estate to review his land assets and the small picture of the winsome Mina attracted Dracula’s gaze.

Besson’s Direction and Humorous Style

Besson structures Dracula’s flashback sequence of worldwide travels wearing flamboyant outfits with a sure hand, and he willingly includes giving us some comedy moments in the style of Mel Brooks – such as Dracula’s ongoing failed efforts to kill himself post-Elisabeta’s demise, as well as comical sequences that result after Dracula applies to himself with a specific fragrance during the 1700s in Florence, which makes him compelling to the opposite sex. Absurd yet engaging.

Dracula is on digital platforms beginning on the first of December and in disc format from December 22nd. It will be shown in Australian cinemas from 5 February 2026.