Dracula Review – Besson’s Love-Struck Revamp of the Gothic Classic is Absurd but Watchable
Maybe there is no great enthusiasm for a fresh take of Dracula from Luc Besson, the celebrated French director for polished extravagance. However, it’s worth noting: his opulently crafted romantic vampire tale boasts bold vision and flair – and with its B-movie charm, it could be preferable to it to 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.
Christoph Waltz as a Humorously Exhausted Priest Tracking the Undead
Christoph Waltz embodies a witty yet careworn cleric fighting vampires – it’s surprising he never took on such a part earlier – who finds himself in Paris in 1889 to mark the 100th anniversary of the French Revolution. The same goes for the sinister Dracula, brought to life by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent evoking the voice of Gru by Steve Carell from the Despicable Me comedies. This is a part he seemed destined to play.
The Narrative: A Saga of Heartbreak
The plot unfolds as follows: the vampire lord has wandered endlessly the earth in torment for hundreds of years since he became undead, a penalty due to his blasphemous mourning over the death of his spouse Elisabeta (a movie debut role for Zoë Bleu, Rosanna Arquette’s child). The count has been searching, searching, searching for a female who would be the rebirth of his lost love. Unfortunately, the lucky lady is revealed as Mina (portrayed once more by Bleu), the reserved future wife of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to Dracula’s fortress to discuss his property portfolio and the small picture of the charming Mina drew the vampire’s attention.
Besson’s Handling and Comic Flair
Besson structures Dracula’s flashback sequence of international journeys wearing flamboyant outfits with a sure hand, and he willingly includes giving us some comedy moments in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to kill himself after Elisabeta’s death, along with absurd moments that occur when Dracula sprays himself with a specific fragrance during the 1700s in Florence, which makes him compelling to the opposite sex. Outlandish but entertaining.
Dracula is available digitally beginning on the first of December and for physical purchase starting the twenty-second of December. It plays in Australian cinemas starting February 5, 2026.
