Dracula Movie Critique – Luc Besson’s Love-Struck Reimagining of the Classic Horror Story is Ridiculous but Watchable
Perhaps there is no great enthusiasm for a fresh take of Dracula from Luc Besson, the celebrated French director for glossiness and bloat. And yet, it has to be said: his opulently crafted romantic vampire tale boasts bold vision and flair – and with its B-movie charm, I might just favor over Robert Eggers’s recent, solemnly classy version of Nosferatu. Odd details emerge, like a particular moment that seems to depict a land border between France and Romania.
Christoph Waltz as a Humorously Exhausted Clergyman Hunting Vampires
Christoph Waltz embodies a witty yet careworn vampire-hunting priest – I can’t believe he hasn’t played this role before – who arrives in Paris in 1889 for the French Revolution centenary celebrations. So does the sinister Dracula, played by the expert in grotesque roles Caleb Landry Jones with a mangled central European accent reminiscent of Steve Carell’s Gru in the Despicable Me films. It’s a role suits him perfectly.
The Plot: A Chronicle of Longing
The story is this: the count has traveled ceaselessly the earth in sorrow for hundreds of years following his rise as one of the undead, a consequence for his faithless sorrow over the death of his beloved Elisabeta (a first film part for Zoë Bleu, Rosanna Arquette’s child). the vampire has sought relentlessly for a lady who might be the return of his deceased partner. Unfortunately, the fortunate female proves to be Mina (portrayed once more by Bleu), the demure fiancee of Dracula’s wimpish land agent, Jonathan Harker (enacted by Ewens Abid), who lately visited to Dracula’s fortress to discuss his property portfolio and the small picture of the charming Mina drew the vampire’s attention.
The Filmmaker’s Approach and Comic Flair
Besson arranges Dracula’s second-act backstory of worldwide travels sporting extravagant attire skillfully, and he willingly includes giving us humorous scenes in the style of Mel Brooks – for example the vampire’s constant unsuccessful tries to kill himself following Elisabeta’s passing, in addition to farcical scenes that result after Dracula douses himself in a certain perfume during the 1700s in Florence, which causes him to be irresistible to women. Absurd yet engaging.
Dracula is on digital platforms beginning on the first of December and for physical purchase from 22 December. It plays in Australian cinemas from 5 February 2026.
