Dracula Review – Luc Besson’s Romantic Reimagining of the Gothic Classic is Outlandish but Entertaining

Perhaps audiences aren’t clamoring for an updated adaptation of Dracula from Luc Besson, the filmmaker known for polished extravagance. However, it has to be said: his richly designed love story with vampires has ambition and panache – and amid its theatrical camp, I’m not sure I wouldn’t prefer compared with the recent, stately interpretation by Robert Eggers of Nosferatu. Odd details emerge, like a particular moment that appears to show a geographic divide between France and Romania.

The Veteran Actor as a Humorously Exhausted Clergyman Hunting Vampires

Christoph Waltz embodies a humorous yet burdened vampire-hunting priest – it feels natural for him to tackle this role before – who arrives in Paris in 1889 during the centennial of the French Revolution. So does the evil Count Dracula, played by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone reminiscent of Carell’s Gru character of the Despicable Me series. This is a part suits him perfectly.

The Narrative: A Chronicle of Longing

The plot unfolds as follows: the vampire lord has been restlessly roaming the earth in sorrow over four centuries since he became undead, a punishment for his irreligious grief over the death of his wife, Elisabeta (a first film part for Zoë Bleu, Rosanna Arquette’s child). Dracula has looked tirelessly for some woman who might be the reincarnation of his departed beloved. As ill fortune would have it, the chosen woman is revealed as Mina (again played by Bleu), the modest betrothed of Dracula’s wimpish land agent, Jonathan Harker (Ewens Abid), who has recently been to Dracula’s fortress to discuss his land assets and the small picture of the lovely Mina caught the count’s hooded eye.

Besson’s Handling and Lighthearted Touch

Besson arranges Dracula’s middle-section history of international journeys sporting extravagant attire confidently, and he willingly includes providing funny bits with a distinctly Mel Brooks flavour – for example Dracula’s ongoing failed efforts to end his own life post-Elisabeta’s demise, as well as farcical scenes that result after Dracula douses himself using a particular scent in historic Florence, which makes him irresistible to women. Outlandish but entertaining.

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