Dracula Review – Luc Besson’s Passionate Revamp of the Gothic Classic is Absurd but Engaging

Maybe audiences aren’t clamoring for a new version of Dracula from Luc Besson, the French maestro for polished extravagance. However, it’s worth noting: his opulently crafted vampire romance displays creativity and style – and in all its Hammer-y cheesiness, I’m not sure I wouldn’t prefer compared with Robert Eggers’s recent, solemnly classy version of Nosferatu. Odd details emerge, such as a scene that appears to show a land border between France and Romania.

Waltz as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz portrays a clever but beleaguered vampire-hunting priest – I can’t believe he hasn’t played this character previously – who ends up in Paris in 1889 for the French Revolution centenary celebrations. So does the sinister Dracula, brought to life by the body-horror veteran Caleb Landry Jones with a mangled central European accent similar to Steve Carell’s Gru from the Despicable Me comedies. This is a part he seemed destined to play.

The Narrative: A Chronicle of Longing

Here’s the premise: the count has traveled ceaselessly the earth in torment for 400 years following his rise as one of the undead, a consequence for his irreligious grief following the loss of his wife, Elisabeta (a movie debut role for Zoë Bleu, Rosanna Arquette’s child). the vampire has looked tirelessly for a lady who could be the rebirth of his deceased partner. As ill fortune would have it, the fortunate female turns out to be Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who just traveled to Dracula’s fortress to negotiate his land assets and whose miniature portrait of the charming Mina attracted Dracula’s gaze.

Besson’s Direction and Lighthearted Touch

Besson arranges Dracula’s second-act backstory of international journeys in various outrageous costumes with a sure hand, and he doesn’t shy away from providing humorous scenes with a distinctly Mel Brooks flavour – such as Dracula’s ongoing failed efforts to end his own life after Elisabeta’s death, in addition to absurd moments that result after Dracula sprays himself using a particular scent during the 1700s in Florence, which makes him compelling to the opposite sex. Ridiculous and watchable.

Dracula is available digitally starting December 1st and for physical purchase from 22 December. It screens in Australian cinemas beginning on the fifth of February, 2026.