Dracula Movie Critique – Luc Besson’s Romantic Revamp of the Timeless Gothic Tale is Ridiculous but Entertaining
It’s possible interest is limited for a fresh take of Dracula from Luc Besson, the filmmaker known for polished extravagance. Still, it’s worth noting: his opulently crafted love story with vampires boasts bold vision and flair – and amid its theatrical camp, it could be preferable compared with the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, including one shot that seems to depict a land border between France and Romania.
Christoph Waltz as a Witty Yet Careworn Vampire-Hunting Priest
Christoph Waltz portrays a witty yet careworn vampire-hunting priest – it’s surprising he never took on this role before – who ends up in Paris in 1889 for the French Revolution centenary celebrations. So does the sinister Dracula, played by the body-horror veteran Caleb Landry Jones speaking in a twisted regional dialect similar to the voice of Gru by Steve Carell of the Despicable Me series. This character he seemed destined to play.
The Narrative: A Tale of Love and Loss
The story is this: the vampire lord has been restlessly roaming the earth in sorrow over four centuries since he became undead, a penalty for his faithless sorrow after the passing of his wife, Elisabeta (a first film part for Zoë Bleu, the offspring of Rosanna Arquette). The count has sought relentlessly for some woman who would be the reincarnation of his deceased partner. By cruel fate, the fortunate female proves to be Mina (also Bleu, of course), the reserved future wife of Dracula’s feeble property handler, Jonathan Harker (enacted by Ewens Abid), who just traveled to Dracula’s fortress to discuss his property portfolio and whose miniature portrait of the lovely Mina drew the vampire’s attention.
Besson’s Handling and Humorous Style
Besson organizes Dracula’s flashback sequence of international journeys in various outrageous costumes confidently, and he willingly includes offering some comedy moments reminiscent of Mel Brooks – like the count’s repeated and futile attempts to commit suicide following Elisabeta’s passing, as well as absurd moments that follow Dracula sprays himself in a certain perfume in historic Florence, which makes him irresistible to women. Outlandish but entertaining.
Dracula is on digital platforms from 1 December and for physical purchase from December 22nd. It will be shown in Australian cinemas beginning on the fifth of February, 2026.
