Dracula Review – Besson’s Love-Struck Reinterpretation of the Classic Horror Story is Ridiculous but Engaging

Perhaps audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the French maestro for stylish excess. However, one must admit: his opulently crafted love story with vampires displays creativity and style – and amid its theatrical camp, it could be preferable over Eggers’s dignified recent take of Nosferatu. Odd details emerge, including one shot that appears to show a territorial boundary between France and Romania.

Waltz as a Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz portrays a humorous yet burdened vampire-hunting priest – it feels natural for him to tackle this character previously – who arrives in Paris in 1889 during the centennial of the French Revolution. Likewise present is the malevolent vampire count, played by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone reminiscent of Steve Carell’s Gru from the Despicable Me comedies. This is a part suits him perfectly.

The Story: A Chronicle of Longing

The plot unfolds as follows: the count has traveled ceaselessly the world in anguish over four centuries since he became undead, a consequence for his faithless sorrow over the death of his beloved Elisabeta (a movie debut role for Zoë Bleu, the offspring of Rosanna Arquette). The count has looked tirelessly for a lady who might be the return of his deceased partner. Unfortunately, the lucky lady turns out to be Mina (again played by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who just traveled to the count’s castle to discuss his property portfolio and whose miniature portrait of the winsome Mina drew the vampire’s attention.

The Filmmaker’s Approach and Humorous Style

Besson arranges Dracula’s second-act backstory of worldwide travels in various outrageous costumes with a sure hand, and he is not above giving us humorous scenes with a distinctly Mel Brooks flavour – like Dracula’s ongoing failed efforts to commit suicide following Elisabeta’s passing, as well as farcical scenes that follow Dracula sprays himself using a particular scent during the 1700s in Florence, that renders him unavoidably attractive to females. Absurd yet engaging.

Dracula can be streamed online from 1 December and for physical purchase from 22 December. It will be shown in Australian cinemas starting February 5, 2026.