Dracula Review – The French Director’s Love-Struck Revamp of the Timeless Gothic Tale is Ridiculous but Watchable

It’s possible audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. However, it has to be said: his richly designed vampire romance boasts bold vision and flair – and in all its Hammer-y cheesiness, it could be preferable compared with the recent, stately interpretation by Robert Eggers of Nosferatu. There are some very bizarre touches, such as a scene that seems to depict a geographic divide between France and Romania.

Christoph Waltz as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz portrays a witty yet careworn cleric fighting vampires – I can’t believe he hasn’t played such a part earlier – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. So does the evil Count Dracula, enacted by the expert in grotesque roles Caleb Landry Jones using a distorted Eastern European tone reminiscent of the voice of Gru by Steve Carell of the Despicable Me series. This is a part suits him perfectly.

The Plot: A Chronicle of Longing

Here’s the premise: the vampire lord has traveled ceaselessly the world in torment over four centuries following his rise as one of the undead, a punishment for his irreligious grief over the death of his beloved Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). the vampire has been searching, searching, searching for a lady who would be the reincarnation of his departed beloved. Unfortunately, the fortunate female is revealed as Mina (portrayed once more by Bleu), the modest betrothed of the count’s timid estate manager, Jonathan Harker (played by Ewens Abid), who lately visited to the count’s castle to discuss his property portfolio and whose miniature portrait of the charming Mina attracted Dracula’s gaze.

Besson’s Handling and Comic Flair

Besson arranges Dracula’s middle-section history of global roaming sporting extravagant attire confidently, and he doesn’t shy away from giving us funny bits reminiscent of Mel Brooks – for example the vampire’s constant unsuccessful tries to kill himself after Elisabeta’s death, in addition to comical sequences that follow Dracula applies to himself using a particular scent in historic Florence, which makes him compelling to the opposite sex. Ridiculous and watchable.

Dracula is available digitally beginning on the first of December and on DVD and Blu-ray from December 22nd. It screens in Australian cinemas beginning on the fifth of February, 2026.