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

It’s possible interest is limited for a fresh take of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. Still, it’s worth noting: his richly designed romantic vampire tale displays creativity and style – and amid its theatrical camp, I’m not sure I wouldn’t prefer over 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 Witty Yet Careworn Priest Tracking the Undead

Christoph Waltz embodies a humorous yet burdened cleric fighting vampires – it feels natural for him to tackle such a part earlier – who finds himself in Paris in 1889 to mark the 100th anniversary of the French Revolution. So does the malevolent vampire count, played by the body-horror veteran Caleb Landry Jones using a distorted Eastern European tone reminiscent of Steve Carell’s Gru in the Despicable Me films. This character he seemed destined to play.

The Narrative: A Tale of Love and Loss

Here’s the premise: the count has traveled ceaselessly the earth in anguish for 400 years following his rise as one of the undead, a punishment for his faithless sorrow following the loss of his wife, Elisabeta (a first film part for Zoë Bleu, Rosanna Arquette’s child). Dracula has been searching, searching, searching for a female who would be the return of his deceased partner. As ill fortune would have it, the lucky lady is revealed as Mina (portrayed once more by Bleu), the modest betrothed of the count’s timid estate manager, Jonathan Harker (Ewens Abid), who has recently been to Dracula’s fortress to discuss his property portfolio and whose miniature portrait of the lovely Mina attracted Dracula’s gaze.

The Filmmaker’s Approach and Lighthearted Touch

Besson arranges Dracula’s second-act backstory of international journeys sporting extravagant attire confidently, and he doesn’t shy away from offering some comedy moments with a distinctly Mel Brooks flavour – such as the count’s repeated and futile attempts to kill himself post-Elisabeta’s demise, as well as absurd moments that result after Dracula douses himself using a particular scent in 18th-century Florence, which causes him to be irresistible to women. Ridiculous and watchable.

Dracula is on digital platforms starting December 1st and in disc format starting the twenty-second of December. It will be shown in Australian cinemas starting February 5, 2026.