Dracula Review – Luc Besson’s Romantic Reinterpretation of the Classic Horror Story is Outlandish but Watchable

Maybe interest is limited for a new version of Dracula from Luc Besson, the filmmaker known for polished extravagance. Still, it’s worth noting: his richly designed romantic vampire tale has ambition and panache – and amid its theatrical camp, I’m not sure I wouldn’t prefer compared with Eggers’s dignified recent take of Nosferatu. A few strange elements appear, including one shot that seems to depict a land border between France and Romania.

Waltz as a Humorously Exhausted Vampire-Hunting Priest

Christoph Waltz portrays a humorous yet burdened man of the church pursuing the undead – I can’t believe he hasn’t played this role before – who arrives in Paris in 1889 for the French Revolution centenary celebrations. Likewise present is the malevolent vampire count, brought to life by the body-horror veteran Caleb Landry Jones with a mangled central European accent similar to Steve Carell’s Gru in the Despicable Me films. It’s a role he seemed destined to play.

The Plot: A Saga of Heartbreak

The story is this: Dracula has been restlessly roaming the earth in anguish for hundreds of years following his rise as one of the undead, a punishment for his irreligious grief over the death of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, daughter of Rosanna Arquette). the vampire has looked tirelessly for a lady who would be the rebirth of his lost love. Unfortunately, the fortunate female proves to be Mina (again played by Bleu), the reserved future wife of Dracula’s feeble property handler, Jonathan Harker (played by Ewens Abid), who has recently been to the count’s castle to discuss his property portfolio and the tiny painting of the lovely Mina drew the vampire’s attention.

Besson’s Handling and Lighthearted Touch

Besson organizes Dracula’s second-act backstory of worldwide travels sporting extravagant attire skillfully, and he willingly includes providing humorous scenes reminiscent of Mel Brooks – like the count’s repeated and futile attempts to end his own life post-Elisabeta’s demise, in addition to farcical scenes that result after Dracula sprays himself in a certain perfume during the 1700s in Florence, that renders him compelling to the opposite sex. Absurd yet engaging.

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