Dracula Review – Besson’s Passionate Reimagining of the Timeless Gothic Tale is Ridiculous but Watchable

It’s possible there is no great enthusiasm for a new version of Dracula from Luc Besson, the celebrated French director for stylish excess. However, one must admit: his opulently crafted vampire romance displays creativity and style – and amid its theatrical camp, it could be preferable compared with the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that appears to show a land border between France and Romania.

Christoph Waltz as a Humorously Exhausted Vampire-Hunting Priest

Christoph Waltz portrays a humorous yet burdened cleric fighting vampires – it feels natural for him to tackle this character previously – who finds himself in Paris in 1889 during the centennial of the French Revolution. So does the malevolent vampire count, played by the expert in grotesque roles Caleb Landry Jones speaking in a twisted regional dialect evoking the voice of Gru by Steve Carell from the Despicable Me comedies. It’s a role that he too was born to take on.

The Narrative: A Tale of Love and Loss

Here’s the premise: the count has wandered endlessly the world in anguish over four centuries following his rise as one of the undead, a consequence due to his blasphemous mourning after the passing of his wife, Elisabeta (an inaugural screen appearance for Zoë Bleu, daughter of Rosanna Arquette). the vampire has been searching, searching, searching for some woman who might be the rebirth of his departed beloved. As ill fortune would have it, the chosen woman proves to be Mina (also Bleu, of course), the demure fiancee of the count’s timid estate manager, Jonathan Harker (played by Ewens Abid), who just traveled to the count’s castle to discuss his property portfolio and the tiny painting of the charming Mina attracted Dracula’s gaze.

Besson’s Handling and Humorous Style

Besson structures Dracula’s second-act backstory of worldwide travels in various outrageous costumes skillfully, and he willingly includes providing some comedy moments reminiscent of Mel Brooks – such as the vampire’s constant unsuccessful tries to end his own life after Elisabeta’s death, as well as absurd moments that occur when Dracula sprays himself with a specific fragrance in historic Florence, that renders him irresistible to women. Outlandish but entertaining.

Dracula is on digital platforms beginning on the first of December and for physical purchase starting the twenty-second of December. It will be shown in Australian cinemas starting February 5, 2026.