Dracula Review – Luc Besson’s Romantic Reimagining of the Timeless Gothic Tale is Ridiculous but Engaging

Maybe interest is limited for a new version 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 with its B-movie charm, I’m not sure I wouldn’t prefer over the recent, stately interpretation by Robert Eggers of Nosferatu. A few strange elements appear, including one shot that appears to show a geographic divide between France and Romania.

The Veteran Actor as a Clever but Weary Priest Tracking the Undead

Christoph Waltz embodies a witty yet careworn cleric fighting vampires – it feels natural for him to tackle such a part earlier – who ends up in Paris in 1889 to mark the 100th anniversary of the French Revolution. The same goes for the evil Count Dracula, brought to life by the seasoned horror actor Caleb Landry Jones speaking in a twisted regional dialect reminiscent of Steve Carell’s Gru from the Despicable Me comedies. It’s a role that he too was born to take on.

The Plot: A Tale of Love and Loss

Here’s the premise: the count has wandered endlessly the globe in anguish for 400 years since he became undead, a penalty for his faithless sorrow following the loss of his spouse Elisabeta (an inaugural screen appearance for Zoë Bleu, the offspring of Rosanna Arquette). the vampire has sought relentlessly for a female who might be the return of his departed beloved. By cruel fate, the fortunate female 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 Dracula’s fortress to discuss his land assets and whose miniature portrait of the charming Mina attracted Dracula’s gaze.

The Filmmaker’s Approach and Humorous Style

Besson arranges Dracula’s second-act backstory of worldwide travels wearing flamboyant outfits skillfully, and he willingly includes giving us some comedy moments reminiscent of Mel Brooks – such as the count’s repeated and futile attempts to commit suicide following Elisabeta’s passing, as well as absurd moments that result after Dracula sprays himself with a specific fragrance during the 1700s in Florence, which causes him to be irresistible to women. Outlandish but entertaining.

Dracula is on digital platforms starting December 1st and for physical purchase from December 22nd. It will be shown in Australian cinemas starting February 5, 2026.