Dracula Movie Critique – Besson’s Passionate Revamp of the Gothic Classic is Absurd but Engaging

It’s possible audiences aren’t clamoring for an updated adaptation of Dracula from Luc Besson, the celebrated French director for stylish excess. However, one must admit: his richly designed romantic vampire tale boasts bold vision and flair – and in all its Hammer-y cheesiness, it could be preferable over the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that looks like it presents a land border between France and Romania.

The Veteran Actor as a Clever but Weary Clergyman Hunting Vampires

Christoph Waltz plays a clever but beleaguered man of the church pursuing the undead – it’s surprising he never took on this role before – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. Likewise present is the sinister Dracula, enacted by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent reminiscent of Steve Carell’s Gru from the Despicable Me comedies. It’s a role that he too was born to take on.

The Story: A Tale of Love and Loss

The plot unfolds as follows: the count has traveled ceaselessly the earth in sorrow for hundreds of years since he became undead, a consequence for his faithless sorrow after the passing of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, Rosanna Arquette’s child). the vampire has sought relentlessly for a female who could be the rebirth of his deceased partner. As ill fortune would have it, the chosen woman proves to be Mina (again played by Bleu), the reserved future wife of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who just traveled to Dracula’s fortress to discuss his land assets and whose miniature portrait of the charming Mina caught the count’s hooded eye.

The Filmmaker’s Approach and Lighthearted Touch

Besson organizes Dracula’s middle-section history of global roaming sporting extravagant attire skillfully, and he is not above providing some comedy moments with a distinctly Mel Brooks flavour – such as the vampire’s constant unsuccessful tries to end his own life following Elisabeta’s passing, along with farcical scenes that occur when Dracula sprays himself using a particular scent in historic Florence, that renders him irresistible to women. Ridiculous and watchable.

Dracula is available digitally starting December 1st and for physical purchase starting the twenty-second of December. It will be shown in Australian cinemas from 5 February 2026.