Dracula Review – Besson’s Romantic Reinterpretation of the Timeless Gothic Tale is Outlandish but Entertaining

Maybe audiences aren’t clamoring for a fresh take of Dracula from Luc Besson, the celebrated French director for polished extravagance. Still, one must admit: his lavishly upholstered romantic vampire tale boasts bold vision and flair – and amid its theatrical camp, it could be preferable over the recent, stately interpretation by Robert Eggers of Nosferatu. There are some very bizarre touches, like a particular moment that looks like it presents a geographic divide between France and Romania.

Waltz as a Humorously Exhausted Clergyman Hunting Vampires

Christoph Waltz plays a clever but beleaguered vampire-hunting priest – it feels natural for him to tackle this character previously – who ends up in Paris in 1889 during the centennial of the French Revolution. The same goes for the sinister Dracula, played by the seasoned horror actor Caleb Landry Jones with a mangled central European accent reminiscent of the voice of Gru by Steve Carell of the Despicable Me series. This is a part that he too was born to take on.

The Plot: A Tale of Love and Loss

The plot unfolds as follows: the count has traveled ceaselessly the earth in sorrow for 400 years since he became undead, a penalty for his irreligious grief after the passing of his spouse Elisabeta (a movie debut role for Zoë Bleu, daughter of Rosanna Arquette). The count has looked tirelessly for some woman who could be the return of his departed beloved. By cruel fate, the lucky lady proves to be Mina (again played by Bleu), the modest betrothed of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who lately visited to Dracula’s fortress to review his real estate holdings and the tiny painting of the lovely Mina drew the vampire’s attention.

Besson’s Handling and Comic Flair

Besson organizes Dracula’s flashback sequence of worldwide travels in various outrageous costumes confidently, and he willingly includes offering funny bits in the style of Mel Brooks – like the vampire’s constant unsuccessful tries to end his own life post-Elisabeta’s demise, along with absurd moments that occur when Dracula sprays himself using a particular scent in historic Florence, which makes him irresistible to women. Ridiculous and watchable.

Dracula is on digital platforms starting December 1st and in disc format from December 22nd. It plays in Australian cinemas from 5 February 2026.