Dracula Movie Critique – Luc Besson’s Love-Struck Reinterpretation of the Classic Horror Story is Absurd but Entertaining
It’s possible interest is limited for a new version of Dracula from Luc Besson, the filmmaker known for glossiness and bloat. Still, it’s worth noting: his opulently crafted romantic vampire tale has ambition and panache – and with its B-movie charm, it could be preferable compared with Robert Eggers’s recent, solemnly classy version of Nosferatu. There are some very bizarre touches, such as a scene that looks like it presents a land border between France and Romania.
Waltz as a Witty Yet Careworn Clergyman Hunting Vampires
Christoph Waltz embodies a witty yet careworn man of the church pursuing the undead – it’s surprising he never took on such a part earlier – who arrives in Paris in 1889 during the centennial of the French Revolution. So does the malevolent vampire count, brought to life by the seasoned horror actor Caleb Landry Jones using a distorted Eastern European tone similar to Carell’s Gru character in the Despicable Me films. This is a part he seemed destined to play.
The Plot: A Chronicle of Longing
The plot unfolds as follows: Dracula has wandered endlessly the world in torment for hundreds of years following his rise as one of the undead, a penalty for his faithless sorrow after the passing of his wife, Elisabeta (a movie debut role for Zoë Bleu, the offspring of Rosanna Arquette). Dracula has looked tirelessly for some woman who could be the reincarnation of his deceased partner. By cruel fate, the lucky lady turns out to be Mina (also Bleu, of course), the modest betrothed of Dracula’s feeble property handler, Jonathan Harker (Ewens Abid), who just traveled to Dracula’s fortress to discuss his land assets and the small picture of the charming Mina attracted Dracula’s gaze.
Besson’s Direction and Comic Flair
Besson organizes Dracula’s second-act backstory of worldwide travels sporting extravagant attire confidently, and he is not above providing some comedy moments in the style of Mel Brooks – like Dracula’s ongoing failed efforts to kill himself post-Elisabeta’s demise, in addition to farcical scenes that result after Dracula sprays himself in a certain perfume during the 1700s in Florence, which causes him to be unavoidably attractive to females. Absurd yet engaging.
Dracula is on digital platforms beginning on the first of December and on DVD and Blu-ray from December 22nd. It will be shown in Australian cinemas starting February 5, 2026.
